Wk5 Quiz AR310 Ancient Art: Tombs And Treasures. Answer The ✓ Solved

Wk5 Quiz AR310 Ancient Art: Tombs and Treasures. Answer the

Answer the following questions:

  1. What two forms were used to depict the solar deity Ra-Horakhty?
  2. During the Amarna period, squares were removed from the grid system to shorten the proportion of the figures. True or False?
  3. Kings were depicted with a protruding or sagging stomach in the _________________ period of the New Kingdom.
  4. Depictions of Osiris and the funerary iconography relating to the journey through the underworld all but disappeared under Akhenaten’s reign. Why did this occur? What scenes replaced it?
  5. Under the reign of Akhenaten, non-royal tomb depictions of hunting, fishing, and everyday life all but disappeared. True or False?
  6. The Amarna period introduced the offering scene where the king stands below the sun disk making offerings, and the rays of the sun stream down touching the king while holding the ___________ to his nose. (Fill the blank.)
  7. Pharaoh Akhenaten’s chief wife was Queen _________, with whom he had at least three daughters.
  8. King Tutankhamun is famous today because of the discovery of his almost intact burial chamber. The typical depiction of traveling the journey from the sun through the underworld was abbreviated. (1) What was the abbreviation depicted on the west wall of King Tutankhamun’s burial chamber? (2) What is the likely reason for this untraditional depiction on the west wall?
  9. The ____________________________ was the location where many royal tombs were built during the Eighteenth to Twentieth Dynasty.
  10. In figure 206 in our text, a painting of a scene with Amun-Ra also contains figures of lotus plants, cats, and a Hathor mask. What do each of these icons symbolize?
  11. What is the significance and meaning behind the battle scenes so often depicted on temples?
  12. Provide the name of this statue, the king depicted, its location and the dynasty it is attributed to. (If a figure is not provided, explain how such identification is normally made.)
  13. During the reign of Ramesses II, illustrations of everyday life in tombs and chapels were phased out. Instead, the decoration is based upon the ___________________________, a collection of funerary texts.
  14. In King Sety’s temple, the image of the god Seth is replaced by a hieroglyph associated with Isis. What is this glyph known as?
  15. What is the image of and what was its purpose? (If the referenced image is not provided, explain common types of funerary or cult images and their purposes.)
  16. How is the typical queen crown depicted in this era, such as that worn by Queen Nefertari?

Paper For Above Instructions

This paper answers the listed questions about New Kingdom and Amarna-period art, tomb imagery, and royal iconography in concise, referenced form.

1. Two forms of Ra-Horakhty

Ra-Horakhty, the composite solar deity combining Ra and Horus of the horizons, was commonly depicted in two principal forms: (a) as a human figure with a hawk (falcon) head crowned by a solar disk, and (b) as the solar disk itself often borne on the head of a falcon or borne by a solar barque (boat) in sky and funerary imagery (Robins, 1997; Shaw, 2000).

2. Amarna grid modification: True or False?

True. During the Amarna period artists deliberately altered canonical grid proportions used for human figures; grids were shortened and proportions elongated or exaggerated to produce the distinctive Amarna style associated with Akhenaten (Kemp, 2006; Dodson, 1997).

3. Period with protruding/sagging royal stomach

The portrayal of kings with a rounded, protruding or pendulous abdomen is characteristic of the Amarna period (the reign of Akhenaten) and the immediate Amarna artistic milieu. This physiognomic exaggeration is part of the broader Amarna stylistic revolution (Robins, 1997; Kemp, 2006).

4. Disappearance of Osiris and funerary iconography under Akhenaten

Why: Akhenaten instituted a radical religious reform focused on the Aten, the solar disk, and attempted to suppress the traditional cults of Amun, Osiris and other deities; funerary and Osirian themes were de-emphasized as part of this theological and political program (Shaw, 2000; Redford, 1984).

What replaced it: Scenes emphasizing the Aten, the royal family’s intimate relationship with the sun-disk (including offering scenes and domestic royal scenes), and simplified cosmic symbolism replaced the complex Osirian underworld iconography in many works of the period (Kemp, 2006; Robins, 1997).

5. Disappearance of non-royal everyday scenes under Akhenaten: True or False?

False. While many royal and elite monuments emphasized Atenic themes and some traditional motifs were suppressed, non-royal everyday scenes persisted in many tomb contexts outside the immediate Amarna royal program. However, the style and subject emphasis did shift in official Amarna tombs (Kemp, 2006; Dodson, 1997).

6. Rays holding the ___________ to the king’s nose

Blank: the ankh (the symbol of life). Amarna offering scenes frequently show the rays of the Aten terminating in tiny hands that hold an ankh symbol to the nose or lips of the king and queen, signifying the granting of life (Robins, 1997; Metropolitan Museum, 2024).

7. Akhenaten’s chief wife

Queen Nefertiti. Akhenaten’s principal wife was Nefertiti, famed from her painted bust and depicted with him in numerous Amarna scenes (Tyldesley, 1998; Dodson, 1997).

8. Tutankhamun west wall abbreviation and likely reason

(1) Abbreviation: In Tutankhamun’s burial chamber the typical sequence of full underworld-cycle vignettes is compressed: many nocturnal solar-boat scenes and regenerative motifs appear in abbreviated or selective form rather than lengthy narrative cycles (Hawass, 2005; Reeves, 1990).

(2) Likely reason: Practical constraints (small chamber, late and hurried burial program), religious revival of pre-Amarna forms combined with changes in funerary taste, and the young king’s short reign all contributed to abbreviated or idiosyncratic presentations (Reeves, 1990; Hawass, 2005).

9. Location of many royal tombs (18th–20th Dynasties)

The Valley of the Kings was the principal burial ground for New Kingdom pharaohs of the Eighteenth through Twentieth Dynasties (Shaw, 2000; Reeves, 1990).

10. Symbolism: lotus, cats, Hathor mask

Lotus: symbol of rebirth, regeneration, and the sun’s reopening each morning (Robins, 1997). Cats: associated with protection and with the goddess Bastet; they can imply domestic protection and sacred guardianship (Aldred, 1980). Hathor mask: signifies the presence or attributes of Hathor—motherhood, music, feminine protection, and a funerary role as welcoming goddess of the dead (Shaw, 2000; Robins, 1997).

11. Meaning of temple battle scenes

Battle scenes publicly proclaim the king’s military prowess, legitimate rule, and maintenance of maat (cosmic order) by subduing chaos and foreign foes. They operate as royal propaganda and ritual renewal of kingship (Hornung, 1999; Shaw, 2000).

12. Identifying a statue without a figure

If a specific figure is not provided, identification normally uses inscriptional evidence (cartouches, epithets), stylistic attributes (crown type, pose, proportions), archaeological findspot, and comparative typology. For example, large seated colossi found at Abu Simbel are identified as Ramesses II by cartouches and stylistic dating to the Nineteenth Dynasty (Reeves, 1990; Aldred, 1980).

13. Funerary text collection used under Ramesses II

Decoration increasingly drew on established funerary texts such as the Book of the Dead and other Netherworld texts (Book of Gates, Book of Caverns) that provided ritualized programs for royal temples and tomb walls (Hornung, 1999; Shaw, 2000).

14. Glyph associated with Isis in Sety’s temple

The glyph is the tyet or "knot of Isis." The tyet is an amulet-shaped sign associated with Isis and her protective powers (Robins, 1997; Gardiner, 1957).

15. Image and purpose (general funerary/cult images)

Common funerary images include the ba-bird, the solar barque, Osirian mummiform figures, and protective deities. Their purposes were ritual: to secure rebirth, protection, and provision for the deceased in the afterlife and to manifest divine presence in temples and tombs (Hornung, 1999; Robins, 1997).

16. Typical queen crown (e.g., Nefertari)

Queens of the New Kingdom are often shown with several crown types: the vulture cap (protective vulture headdress), the Hathoric crown (cow-horns with solar disk), and the modius or flat-topped wig with uraeus. Queen Nefertari is commonly depicted wearing the Hathoric-like crown and vulture headdress in temple reliefs, emphasizing royal and divine maternity and protection (Shaw, 2000; Robins, 1997).

These answers synthesize current scholarly consensus and museum documentation on New Kingdom and Amarna period art and funerary practice. For figure-specific identification questions, epigraphic data and findspot information remain essential.

References

  • Aldred, C. (1980). Egyptian Art. Thames & Hudson.
  • Dodson, A., & Hilton, D. (2004). The Complete Royal Families of Ancient Egypt. Thames & Hudson.
  • Gardiner, A. H. (1957). Egyptian Grammar. Oxford University Press.
  • Hawass, Z. (2005). Tutankhamun: The Golden King and the Great Pharaohs. National Geographic.
  • Hornung, E. (1999). The Ancient Egyptian Books of the Afterlife. Cornell University Press.
  • Kemp, B. J. (2006). Ancient Egypt: Anatomy of a Civilization. Routledge.
  • Metropolitan Museum of Art. (2024). Heilbrunn Timeline of Art History: Amarna Art. https://www.metmuseum.org
  • Reeves, N. (1990). The Complete Valley of the Kings. Thames & Hudson.
  • Robins, G. (1997). The Art of Ancient Egypt. Harvard University Press.
  • Shaw, I. (Ed.). (2000). The Oxford History of Ancient Egypt. Oxford University Press.

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