The painters of ancient Egypt. Their language. Their palettes. Their styles.
Saffron| N° d'inventaire | 26358 |
| Format | |
| Détails | 384 pages, 202 illustrations, publisher's hardcover. |
| Publication | Brussels, 2023 |
| Etat | Nine |
| ISBN | 9782874571374 |
An original synthesis work - the first since A. Mekhitarian's work, "Egyptian Painting", 1954, which it complements - on the evolution of style in the tombs of individuals in Thebes, during the New Kingdom (around 1539-1077 BC).
Among the innovative aspects: parallels with the universal history of painting to which Pharaonic painting belongs; rethinking of the dating.
The study of the style itself is preceded by some avenues of reflection on the meaning and reading of Egyptian images.
***
Ancient Egyptian painting is essentially funerary wall painting. It was in Thebes, now Luxor, that it experienced its greatest development, around 1539-1077 BC (New Kingdom) and it is only this painting, more precisely that which adorns the tombs of individuals , not the hypogea of the Valley of the Kings and the Valley of the Queens, which are in question here.
Nadine Cherpion's main objective is the study of style in Theban tombs. By style, we mean the dominant colors of a monument as well as the curvature of a wig or the length of a back. It is what makes the "spirit" of an era, or even of a reign. Studies on style in Egyptian painting are few and far between and often exhausted or partial (Wegner 1933, Mekhitarian 1954, Hofmann 2004). On the other hand, a subject as subtle as style can easily be revisited at regular intervals with a fresh perspective.
Willingly leaving the borders of Egyptology, The author places Theban painting within the framework of the universal history of painting , which constitutes one of the innovative aspects of his work, as does the rethinking of the dating. Much more than a compilation, this book is an original work of synthesis, carried out largely in the field . It is illustrated with numerous photographs taken, for the most part, by J.-Fr. Gout at the request of the author and often unpublished . The history of the style itself is preceded by some avenues of reflection on the meaning and reading of Egyptian images.
An original synthesis work - the first since A. Mekhitarian's work, "Egyptian Painting", 1954, which it complements - on the evolution of style in the tombs of individuals in Thebes, during the New Kingdom (around 1539-1077 BC).
Among the innovative aspects: parallels with the universal history of painting to which Pharaonic painting belongs; rethinking of the dating.
The study of the style itself is preceded by some avenues of reflection on the meaning and reading of Egyptian images.
***
Ancient Egyptian painting is essentially funerary wall painting. It was in Thebes, now Luxor, that it experienced its greatest development, around 1539-1077 BC (New Kingdom) and it is only this painting, more precisely that which adorns the tombs of individuals , not the hypogea of the Valley of the Kings and the Valley of the Queens, which are in question here.
Nadine Cherpion's main objective is the study of style in Theban tombs. By style, we mean the dominant colors of a monument as well as the curvature of a wig or the length of a back. It is what makes the "spirit" of an era, or even of a reign. Studies on style in Egyptian painting are few and far between and often exhausted or partial (Wegner 1933, Mekhitarian 1954, Hofmann 2004). On the other hand, a subject as subtle as style can easily be revisited at regular intervals with a fresh perspective.
Willingly leaving the borders of Egyptology, The author places Theban painting within the framework of the universal history of painting , which constitutes one of the innovative aspects of his work, as does the rethinking of the dating. Much more than a compilation, this book is an original work of synthesis, carried out largely in the field . It is illustrated with numerous photographs taken, for the most part, by J.-Fr. Gout at the request of the author and often unpublished . The history of the style itself is preceded by some avenues of reflection on the meaning and reading of Egyptian images.