Why Life and Death Was So Important in Prehistoric Art
Jessica Honeycutt
Throughout time many civilizations accept incorporated the belief of the afterlife and funerary traditions into their everyday life and rituals. Death and funerary practices are often some of the best-preserved and widely available resources for exploring entire civilizations! The graves give scholars and archeologists a glimpse of the civilization, simply the items found near or placed around the body provide the wealth of information of the civilization interconnecting beliefs, rituals, socio-economic status, and culture. Looking at primarily 3 civilizations (Egyptian, Greek, and Etruscans) we will explore the obvious and infinitesimal similarities and differences betwixt the cultures. Forth with looking at the afterlife and funerary practices nosotros volition dig into the grave goods left with the body, or around the torso, during preservation. Ultimately we will exist exploring the differences and similarities betwixt these civilizations and their funerary practices and the preparation that goes along with preparing the body for an afterlife.
Egyptian
Looking at our first civilization, Aboriginal Egypt, there is a heavy importance on the preservation of the human body and soul. Going back in history, this civilisation lasted from about 3500 B.C. until 2000 A.D. During this time many dissimilar rulers and periods occurred leaving lots of incredible cultural artwork and funerary trends. The almost popular of these trends includes mummification.
The beginning example of a grave good in Egyptian funerary practices occurred before chiliad B.C. in picayune jars called "Canoptic jars". Nosotros will exist looking at the Canoptic jars from Deir el-Bahari (Upper Arab republic of egypt) from the 21st Dynasty dating back to 1069-945 BCE. In the specific Canoptic jars that we are looking at, the jars independent the organs of a woman called 'Neskhons'. These jars were notably special in the mummification process. The ritual of mummification is conspicuously expansive and intricate. Mummification includes the removal of internal organs from the deceased body and placed in these jars for preservation. The jars represent the 'four sons of Horus' and each jar protected a specific organ. Imsety (human-headed jar) protected the liver and is protected past Isis the goddess of creation, destruction, maternity, magic, and fertility. Hapy (baboon- headed jar) protected the lungs and was protected by Nephthys the Goddess of households, decease, service, and night. Finally, Qebehsenuef (falcon-headed jar) protected the intestines and Duametuf (jackal-headed jar) protected the stomach. But the organs were non simply taken from the body and put into these jars; they went through a process called embalming. This process consists of drying the trunk with a common salt called natron and subsequently they would rub oils onto the skin then wrap it in linen strips. But the organs were just washed, dried with natron and so wrapped in linen, skipping the oil part of the ritual. The whole mummification and embalming process did not just occur to the common or lower form at the time in Egyptian society. During the 21st Dynasty, only the upper class was able to take their bodies preserved and mummified in this fashion due to the limited amount of skilled embalmers and the economic weight it held. So through these funerary practices nosotros are able to tell the socio-economic status of the body without knowing who the body really is. Simply as nosotros discussed earlier, we know that the Canoptic jars we are examining are those of 'Neskons'. Neskons had been built-in into the upper class where her father, Smendes II, who was the preist male monarch of Amun on the Thebes midweek her to claret uncle Penodjem 2, who was as well a high priest of Amun on the Thebes during the 21st Dynasty. In the Egyptian culture, priests were seen as function of the upper form, and hence Neskhons was too. But these jars do not only provide true prove of socio-economical condition simply they provide a expect at the Egyptian civilisation as a whole and what they deem equally important. Death was non seen as the finish of their life or soul, but more every bit a transitional state of waiting for revivification. The afterlife for the Egyptians was very difficult and often included jumping over many hurdles to get to the "concluding judgment" before entering the vast and everlasting afterlife. The Egyptians placed such importance on the mummification procedure because while the spirit of the deceased moved onto the afterlife, the body had to be preserved into society to venture into the afterlife as well. The reason the vital organs are taken out of the body and placed in these Canoptic jars is considering the Egyptians did not believe they were needed during the journeying into the afterlife, but were needed in one case they reached the afterlife. After near thou B.C. the mummification process eventually underwent a slight change and the organs were removed, dried and so placed dorsum inside the torso. But the Canoptic jars were nonetheless placed with the body whether they were fake or solid. The reason is to still nowadays the protection of the 4 sons of Horus.
Another popular funerary exercise mutual to Egyptian culture was the funerary mask. 1 of the most popular funerary masks is the "Mask of Tutankhamun" from the eighteenthursday dynasty around 1327 BCE, who we volition exist looking at in this exhibition. In society to understand the funerary mask nosotros must dig into Pharaoh Tutankhamun biography (also known as king Tut). In relevance to other Egyptian kings, King Tut was a relatively minor male monarch is the large scheme of things. His birth proper name, Sa Ra meaning "son of the sun" was later changed to Tutankhaen meaning "the living paradigm of Aten". Aten represents the god or spirit of the lord's day and is depicted as the actual solar deejay. Tut belonged to the 18th Dynasty of Egyptian Kings, which existed during the period of the New Kingdom. In 1334 B.C. Tut was made Pharaoh at the age of ix and that same yr he married his one-half sister, Anhensenpaaten. Merely Tut's rule simply lasted a total of 9 years earlier his mysterious death at the historic period of 18/nineteen. So why is King Tutankhamun so pop in todays society? In 1922, an archeologist named Howard Carter (with sponsor Lord Carnarvon) happened upon it and in its glory and wealth became an immediate fascination. Now that you know the background of Tutankhamun we can fully sympathise the funerary mask and the key elements that were put into producing this masterpiece. Funerary masks of this time were but produced for royalty, and it was not until later that they were manufactured for the elite classes of both male and female. The function of presenting the mask in solid gold not only represents the socio-economic status, that Rex Tut of course had, but it more chiefly represents the immortal mankind of the pharaoh shining like the lord's day of a god. The lapis lazuli (blue part of mask) and glittering flesh stand for the sun god, Horus. An important aspect of all mummification processes is due to the neat book called "The Book of the Expressionless". The Book of the Dead in short constitutes the spells and formulas for the utilize of the deceased in the afterlife and is contributed with the basic ideas of Egyptian mythology. Spell 151 is a visual compilation describing the mummification procedure and more closely the embalming ritual. This relates to funerary masks considering the Volume of the Dead explains how the special features of the mask such as the eyebrows, forehead, optics, and other features delineate dorsum to special divinities such as the four children of Horus (Imsety, Hapy, Qebehsenuef, and Duametuf). The Egyptians paid such close attention to detail to the masks because the masks were the concrete representation of the dead and they besides served equally reassurance that the expressionless would get in safely in the afterlife. The closer the mask looked to a true divinity, the better chances it has of afterlife. Upon arriving in the afterlife, they must gain acceptance amongst all other divinities in a council like structure and predominately Osiris, the groovy god of the expressionless. The function of covering the face of the mummy with a funerary mask in Egyptian civilisation demonstrates the journey and transition of the physical and spiritual land from this world and into the divine transformation afterlife. While King Tutankhamun might have gained popularity today through the sheer aesthetic beauty of his funerary mask, funerary masks are not only fabricated to look pretty, but to more than chiefly serve equally protection for the head during the mummification process. Every bit we discussed with the Canoptic jars, this provides some other example of how Egyptians placed cracking importance in preserving the deceased for afterlife.
Our concluding slice of Egyptian art that nosotros will be looking at in this exhibition is the Ushabti. The Ushabtis are little mummified figurines that were usually between ten and thirty centimeters tall and were made out of various materials. The function of these piffling figurines has inverse throughout time. The case presented above is from the 26th Dynasty (663-525 B.C.E) and functions every bit a worker in the afterworld in identify of the deceased, this is represented by on the back of these figurines where you will see a seed pouch wrapped across his torso and tools to work in the afterworld, usually tools to sow and reap fields or depending on what action they volition perform in the afterlife. But to really understand the reason for why the function of these lilliputian figurines take inverse, we have to go back and look at the entire Egyptian culture. The thought of the Ushabati dates dorsum to the Predynastic (prior to 3100 B.C.), and Early Dynastic Period (3100-2686 B.C.), where actual homo servants were to be sacrificed and buried with their deceased ruler. Luckily for the servants of subsequently generations, this practice was deemed unnecessary and wasteful and that'south when the idea of a symbolic epitome of servants was invented. The starting time representation of a servant in Egyptian funerary practices is seen painted inside tombs and to office every bit aid for the deceased in the afterworld. This funerary trend eventually led to the idea of a tangible, small statue of a slave that was chosen "Shabti". The Shabti is a pocket-size figure humanized to perform tasks for the deceased in the afterlife. In Egyptian afterlife, the sun god "Ra" provides each deceased person with a parcel of land so that the blessed dead could receive food in the afterlife.Like in Egyptian lodge, the wealthy and royalty did not perform transmission labor during their life and they were non almost to start now in the afterlife. Hence the function of the Shabti; they were given tools to consummate the various agricultural tasks. Later the Shabti figure developed into either "Shawabti" or "Ushabti" depending on the fourth dimension catamenia and location. These figurines became more avant-garde in their overall appearance and their function, which was now inscribed on the tangible statue that conspicuously stated their job in the afterlife. The Shawabti figurines existed along the due west bank of and Thebes during the 17th Dynasty(1580-1550 B.C.) and 18th Dynasty (1543-1292 B.C.). The Ushabati models existed from the 21st Dynasty and later on. Which brings us dorsum to our example of the Ushabti figurine from the 26th Dynasty. Since our Ushabti figure is from later on the Pre Dynastic period, there is an inscription on the pocket-sized figurine that reads:
"The shining forth of the Osiris, Full general Ankh-wah-ib-Ra-sa-Neit. Child of (proper name unclear). Ushabti, if it is decreed that Osiris is to practise piece of work any there is in the afterlife, bandage down the obstacles in front of this man. Behold me (whenever) you (the Ushabti) are called. Be watchfull at any moment to work there. To plough the fields, to h2o and (bear) the sand to the e, to the west. Behold me whenever called
Ultimately the inscription is stating that the Ushbati must plough the fields, h2o and or conduct the sand to the east and west whenever Osiris calls upon on it. Like the Egyptian funerary practices that nosotros discussed earlier, nosotros know that the depictions of the deceased were highly stylized. The Ushabtis are some other instance of how the Egyptian civilization placed not bad importance on the preservation of the deceased and their transcending appearance into the afterlife. These tiny stylized figures depict the traditional Egyptian mummification torso stance with the deceased artillery crossed holding an Egyptian artifact.
Greeks
Moving onto our adjacent civilization, The Greeks ruled from 8000 BCE to 30 BCE. During this menstruation there were many small periods that characterized the electric current society and traditions. The Greeks viewed funerary rituals every bit a way to assist the soul of the dead transcends into the next world. While they are transcending, the funerary rituals are there to assistance protect the deceased from bad luck and misfortune. The Greeks believed that when the person died, at that moment the psyche, or spirit of the dead, left the trunk similar a little puff of air current. At this time is when the body was prepared for burying (whatever the ritual was for the time period). Ancient Greeks introduced the idea of related sleep and death; they have a saying "Sleep and death are brothers". This thought of sleep and death interrelated is prevalent in ancient Greek funerary artwork which we will look at in this exhibition. Just like the Egyptians, the Greeks besides placed grave goods in the honorable expressionless tombs consisting of weapons, jewelry, and other precious goods.
The earliest Greek example of funerary practice is seen during the Geometric period from 900 to 700 B.C. This catamenia is characterized by urban renewal of Greek city-states and a revival of historical past such equally literature and art. During the Geometric period of Greek civilization big vases served as monumental grave markers inscribed with funerary representations. The Geometric period is piece of cake to differentiate compared to other periods due to the visible creative distinctions. The bodies on the vase are presented with having triangle shaped breasts, elongated legs and circular heads. The summit and bottom of the vase are decorated with geometric lines and shapes, prevalent to this time menstruation. This big vase is credited as the "Krater" from the second half of the viiith century B.C. from Attica, Greece. This particular vase probably represents the death of a military warrior. This is deducted from the multiple bands of stories wrapped horizontally effectually the vase itself. The widest ring of the vase (meridian band) shows the ritual in aboriginal Greek funerary practices called 'Prothesis", in this practice the woman of the family bath and lather the trunk with anointed oil then dressed the body with linen. Subsequently this the trunk is laid out in their house on a high bed. At this time of the funerary exercise friends and family may come and mourn the deceased and pay their respects. This part of the funerary procedure is especially of import considering in the Greek funerary exercise the dead were believed to exist in the underworld in the same verbal form as which they exit the world of the living. And then special preparation of the deceased body was i of the almost, if non the most important, part of the funerary practice. Failure to do so would cause an outrage and was believed that they did not make information technology to the afterlife. In the lower band (lesser band) chariots with horses attached carry warriors with spears and shields; this probably refers to the deceased armed forces background. The funerary practice, even though not depicted on the vase, ended with the deceased being brought to the cemetery around dawn through a procession chosen the 'Ekphora'. Very few bodies of the time were placed in the physical ground, but rather a rectangular tomb, monumental world mound, and an elaborate stelai or statue to show where the grave was erected and to ensure that the expressionless will not be forgotten. The bodies were commonly cremated and placed inside vases that were then buried alongside the grave along with other grave appurtenances such as jewelry, weapons, and other gifts from family unit and friends. . Kraters, like the ane depicted above served every bit a grave mark where family unit members could pour oil, wine, water, and other liquid offerings to the deceased through a hole in the bottom. Relating back to common ancient Greek beliefs, sleep and expiry were associated with one another equally being "brothers". Nosotros today virtually view sleep as a temporary state, whereas expiry is more than along the lines equally more permanent state. Death is seen as a longer depiction of sleep every bit the trunk transcends into the after through the steps as nosotros talked about earlier (refer back to Prothesis and Ekphora). The Krater helps to depict this prominent aboriginal Greek conventionalities by representing the deceased in a sleeping position during the Prothesis ritual. In the end, this Krater serves to stand for the funerary traditions during the ancient Greek Geometric menses. Through this Krater we are able to deduct that the aboriginal Greeks placed heavy emphasis on the physical afterlife practices and rituals more than than the objects placed in the grave. Unlike Egyptian rituals, the deceased trunk remained intact until the cease of the funerary ritual, which ordinarily involved the body being cremated.
Moving by the Geometric menses and onto a later on period of the ancient Greek civilization called the Archaic period. Which is where nosotros will talk over our next case of a funerary artwork called the "Kouros effigy". Dating from 590-580 B.C in Attica, this effigy is 1 of the primeval known freestanding marble statues. The term Kouros means male youth, and information technology usually depicted with the same, rigid stance throughout the Primitive period. The opinion ordinarily represented a male continuing frontal with their left leg slightly further forward than the right and artillery tucked close to their bodies with their hands clasps on their upper thighs. This strict symmetry and pattern highlighted the different parts of the anatomy. Simply it also represents the cultural identity of Greece at this time. The Greeks love for harmony and symmetry is present when you understand "Kalokagathea". Kalokagathea is the belief that the ideas of harmony and guild are chiefly related to the evolution of the city. During this fourth dimension, Greece was an emerging dominant strength and through the employ of symmetry, it would attain that and this belief is present in the Kouros figure. The Egyptians had a huge affect on the Archaic period along with the Kouros figure. Before this time period, the Greeks had carved their statues out of wood. Through the influence of the Egyptians, the Greeks wanted to start carving from a more preminent medium introduced in Egypt to make sure the soul of the deceased lived on inside the statue. The Greeks incorporated the use of a more permanent medium to stand for the everlasting afterlife, and not to behold the soul. Comparing the figure to other civilizations, the male person is presented every bit a young male child because youths were admired in Greek society, like the Egyptians who idealized a youthful individual. The aspects of the statue are likewise stylized like the Egyptians from the hair that depict beads to the geometric similar aspects of the boy'south stance. The figure also represented the cultures changing view of the man body. Looking back at the Krater vase we discussed earlier, the Kouros figures were becoming more popular meaning vases diminishing, which somewhen led to their extinction in Greek funerary practices. This proves that the Greeks were becoming more than interested in human being bodies and how the human trunk would eventually lead to a huge civilization revelation for the ideal. Analyzing Ancient Greek funerary practices, wealthy Greeks spent lots of money for funerary practices and rituals. A popular funerary ritual that lasted from virtually 700 to 480 BC was the idea of cemeteries outside of the cities walls. The Kouros figure was present in Athenian cemeteries, where wealthy and prominent Athenians would construct these statues as grave markers or funerary monument. The effigy we are looking at today is believed to be accept marked the grave of a young Athenian aristocrat. The actual statue does not represent a deity or political figure, just rather the perfections of mortal humans who were prominent enough to be commemorated. Beneath the grave markers there was usually an epitaph at the base and verses that highlighted the deceased interests. The ancient Greeks placed a high importance on the afterlife, but were not obsessed during the archaic period. They were more concerned with their existence and comfort on globe. This is seen in the Kouros figure through the movement toward an idealized lifelike representation of a mortal. In the end, the statue may look unnatural and stiff, simply it represents the role of Greek fine art of this time menstruum, which was to have an interest in lifelike vitality and a concern with harmony and lodge
Etruscans
An example of the changing views of funerary practices is during the Etruscan catamenia dating from about 750 BCE- 250 BCE. Like the other civilizations during this time at that place was a heavy emphasis on the afterlife. Talking about the Etruscan civilization, the Etruscans occupied the Northern territory of Italy while the Romans and Greeks were father due south and we will examine how those civilizations intermingle with each other.
Compared to what we discussed earlier about the Greek civilisation, the Etruscans were a completely different civilization, which nosotros will be looking at today. Unlike the Greeks, a unmarried leader or big city did non dominate the Etruscan civilisation. One aspect of Etruscan civilization that did dominant culture and everyday life was faith. In the Etruscan religion, their gods spoke to them (the mortals) through nature and natural events or disasters. With an obsession with religion there is a correlation that they would be extremely interested in the afterlife aspect of religion every bit well. The Etruscans believed that death was only the beginning and was the journey to the afterlife. Through the use of art and funerary practices, the Etruscans believed that the dead would non haunt mortals if they were pleased with their offerings to the afterlife. The case nosotros volition be looking at today is the Tomb of the Triclinium. From Tarquinia, Italy around 480-470 BCE. To fully sympathize the importance of the tomb, lets review how the metropolis of Tarquinia impacts the Etruscan culture. Tarquinia is located on the west coast of the Italian peninsula and is all-time known as being one of the well-nigh authoritative and prominent centers in Italy of that time. The frescos upon the walls take scenes of dancers and people enjoying a classical political party of the society. Hence why the frescos upon the walls are commonly referred to as "Dancers and Diners" and stand for a celebratory funerary process. The partygoers represented in the frescoes are seen as reclining on "Trinclinium", which are formal dining room couches in which you lounge in when you eat or relax. Servants are as well waiting on the people while live music is being performed. The frescoes could represent either the daily life of the Etruscan culture or the way they want to alive their afterlife. The people presented in the frescos are seen as either in pairs or alone simply everyone is having a banquet and viewed equally having a good time at this celebration. The way they are celebrating, through the drinks and mural, it is very extravagant and stylized. Breaking down the meaning of this tomb, nosotros are showtime going to wait at the nigh basic function of the tomb. The tomb is an ancient Etruscan funerary practice that involves a rock-cut tomb that contains the deceased and grave goods for the afterlife. The frescoes on the wall, unlike any civilization we have looked at in this exhibition, are non seen as somber only rather as a festival or a feast. The banquet aspect represents the transitional period from the living globe to the afterlife in Etruscan funerary rituals. The deceased spirit is represented as the repast and the utensils and dishes are included in function of the grave goods. But it also serves to represent the social norms of the society. As we were talking about earlier, the Etruscans believed that in order to successfully laissez passer into the afterlife, the deceased must exist pleased with how their tomb is decorated; otherwise the dead will haunt the mortals. That is why the Etruscan spent then much time building and perfecting their tomb and rituals for the deceased. But the tomb also held grave appurtenances or offerings for the expressionless to take into the afterlife. The frescoes on the wall besides represent a stylistic similarity with the Greeks. Past the similarities, we are able to deduct that the Greeks and Etruscans participated in trade that reveals history of the civilization. This example presents the fashion the Etruscan civilisation viewed the death (or deaths) of a person of great importance or of loftier society and how the funerary norms are incorporated.
One of the nearly important Etruscan funerary artwork found to date is what nosotros will be looking at today. The artwork is called the "sarcophagus of a married couple (or spouses)" effectually 520 BCE and is made out of terracotta. To fully empathize the importance of this piece of art, lets look at the Etruscan civilizations history. The habitation of the Etruscans was located north of Rome. The Romans were not yet a full-fledged dominance in Italy and of the earth yet just rather contrary of what we know information technology to be today. Until 509 BCE, Rome was withal ruled by Etruscan kings. The artwork that we are looking at dates a lilliputian before the Romans dismissed the final Etruscan king in Rome. The sarcophagus is rather revolutionary compared to artworks during this time menstruation. Every bit we looked at earlier, the Kouros figure represents the differences in the ii civilizations. Compared to the Greeks, the Kouros effigy is presented as stiff looking and rigid. In this example, the couple is seen as being dynamic and equally if they are moving into your space. Another radicle difference between this funerary representation and the Greeks is the incorporation of including the wife and husband together on the sarcophagus in a very intimate pose. On the other paw, the kouros figure stands lone and just represents the male. The incorporation of a female figure does more than just represent his married woman. This proves that the Etruscan culture viewed men and women as equals. Now lets await at the actual sarcophagus. The figures on the sarcophagus are of a husband and wife indulging at a banquet. Banquets were common scenes that were usually depicted in Etruscan tombs, like some other earlier example we examined chosen the "Tomb of Triclinium". Merely there are a few speculations about what the married woman would have been holding. Either she is belongings a cup or a glass, which would correspond her office at a banquet. But on the other hand, some scholars believe that she may have been participating in an Etruscan funerary ritual. In this ritual, the married woman is depicted every bit pouring perfume onto the husbands' hand while he is belongings a pomegranate (which was a symbol for immortality or the eternal) Like the other two civilizations we accept investigated today, the Etruscans likewise arcadian their deceased to an extent. Well-nigh aspects of the sarcophagus are stylized; from the cushions that they recline on to their hairstyles. The elongated proportions on the couples are typical of archaic stylized forms. Lets now examine the funerary aspects of this piece of art. The funerary function of the sarcophagus is rather misleading. Different aboriginal Egyptian sarcophagus'southward that held the mummified body of the deceased, this sarcophagus did not actually agree the deceased concrete bodies. Instead is held the cremated remains of the couple like an urn. In Etruscan funerary rituals, it was typical for the bodies of the dead to be cremated. The couple is presented as enjoying themselves at a banquet because the Etruscans believed that depicting the deceased how they want to be remembered in the afterlife would hope them eternal happiness. In the fear that they did not like their tomb, the aboriginal Etruscan funerary belief was that if the deceased was non pleased with their tomb they would haunt the mortals for eternity. That is why such great emphasis was put on the funerary aspects on the expressionless. This slice of art represents the Etruscan civilization and its funerary practices through the use of grave goods. The sarcophagus ultimately reveals the cultural norms of the elite and the funerary conventionalities that death is a positive and celebratory occasion.
In the end, nosotros reviewed 3 civilizations that represent the changing funerary practices in aboriginal societies. While some of these aspects are still prevalent in unlike cultures today, lets be grateful that near of these funerary practices and rituals are no longer prevalent!
Jessica Honeycutt
Work Cited
1- British Museum. "Canoptic Jars." Mummification Explore. Accessed April 22, 2015.
ii- "Tour Egypt :: Funerary and Other Masks of Ancient Egypt." Funerary and Other Masks of Ancient Egypt. Accessed April 24, 2015. http://www.touregypt.net/featurestories/masks.htm.
3- "Heilbrunn Timeline of Art History." Attributed to the Hirschfeld Workshop: Krater [Greek, Cranium] (14.130.14). Accessed April 24, 2015. http://www.metmuseum.org/toah/works-of-art/14.130.14.
4- "Interpretive Resource." Interpretive Resources. Accessed April 24, 2015. http://www.artic.edu/aic/resources/resource/2663.
v- "Art History Lab." Brian Wildeman's Art History Lab Etruscan. Accessed April 24, 2015. http://people.ucls.uchicago.edu/~bwildem/art_hist_laba/etruscan/sarcophagus.html
Source: https://ancientart.as.ua.edu/funerary-practices-throughout-civilizations/
0 Response to "Why Life and Death Was So Important in Prehistoric Art"
Post a Comment