Ancient Egyptian murals, why are the people on ancient Egyptian murals all sideways?

Why are the people in ancient Egyptian murals all silhouette? Egypt's artistic expression of this figure is called "silhouette method". It is the most typical modeling method in Egyptian painting and sculpture. The task of ancient Egyptian artists is not to be realistic, but to preserve all the characteristics of the characters as much as possible based on eternal beliefs-painting the head as the most undulating side; In order to preserve the mental outlook of the characters, draw the eyes as positive; The front can best express the body image, so draw the trunk as the front; When the limbs move, the front view will be "shortened", so draw according to the side. As an order, the "side rule" in ancient Egyptian painting was strictly observed by its artists.

The greatest feature of ancient Egyptian mural art is that there are three styles of Egyptian painting. There is a kind of "line carving", which depicts the image of people or animals on stones. These images are all plane shapes, which are similar to the painting shapes in The Book of the Dead (about 1 100 BC), and are actually an artistic style between sculpture and painting. Another style is hieroglyphics. At first, a symbol was used to represent an object, and each symbol was an independent painting. Later, although hieroglyphics gradually developed into cognitive characters, hieroglyphics remained. They vividly depict the images of people, birds, lions and other animals and various plants one by one, with pictures or reliefs as the background, which plays a role similar to "inscription" in Chinese painting and also plays a decorative role in the picture. It can be seen that the ancient Egyptians also regarded calligraphy as an art. The third painting style in ancient Egypt is tomb mural, which is the most important painting form in ancient Egypt.

When we watch and study the murals in ancient Egypt, it seems that we can see the wonderful and energetic life scenes in ancient Egypt thousands of years ago. When we first see these murals, we are often deeply puzzled: they don't paint according to objects like Europeans, and we China painters don't paint according to imagination. It turns out that they are created according to actual purposes and uses, so their paintings are not exquisite and beautiful, but complete and perfect murals and sculptures in ancient Egypt. Why are the colors still bright after thousands of years? As one of the four ancient countries in the world, ancient Egypt, located at the bend of the Nile River, has left amazing relics and civilizations for mankind and attracted millions of tourists to enjoy this unique scenery.

After years of exploration and exploration by archaeologists and scientists in different fields, a once huge and mysterious empire is gradually unveiling its veil to the world.

Recently, the Egyptian Ministry of Cultural Relics told the outside world that they had made new discoveries again in exploration. In an ancient tomb more than 4300 years ago, a well-preserved ancient Egyptian mural was found.

What is shocking is that the color of the mural in the curtain is still bright and clear, as if it were a newly completed work, and the characters and totems in the painting are clearly visible and lifelike.

Careful observation shows that the neat patterns are not damaged in a large range, and the colors and lines are just right, which makes us feel very comfortable.

The most beautiful tomb in history was officially unveiled in March this year.

At that time, the staff were digging a huge tomb in the Egyptian capital and accidentally found an inconspicuous passage.

The entrance of this passage is very narrow, and it is difficult for a normal adult male to enter.

In order to find out, the archaeological team can only take a step forward by clearing the obstacles ahead with their bare hands. After struggling through this small underground world, the art wall came into view.

On the wall, the ancestors thousands of years ago recorded the grand scenes of human daily life and sacrifice at that time with exquisite skills.

The walls of the murals are made of white limestone bricks, which is no different from most Egyptian murals. What is unusual is that the pigments in the murals not only use traditional yellow and white, but also are detected to be added with extremely rare green resin and oil to prevent the coffin from rotting during burial.

Perhaps it is this magical oil that keeps it intact.

Go through the mural to the main tomb, where there is a damaged mummy and precious funerary objects.

Not far from the mummy, I saw several jars suspected of storing the owner's organs.

What excites researchers is that ancient cultural relics with thousands of years of history can still preserve their original appearance.

It uses inorganic mineral pigments with stable performance, the white pigment is magnesium calcium carbonate, the black pigment is carbon black, the red pigment is ochre red, the yellow pigment is ochre yellow and orpiment, the blue pigment is azurite and Egyptian blue, and the green pigment is malachite powder (stone green) and Egyptian green.

Egyptian blue and Egyptian green are pigments made of glass powder, which are much more stable than azurite which is easy to deteriorate after heating.

Deterioration and discoloration of ancient pigments

The sky is blue every day, and Egyptian blue is unnatural.

Preserved environment, changes in temperature difference between water vapor and humidity, and sandstorms have seriously damaged murals, so well-preserved murals mostly come from tombs and temple buildings covered by sandstorms.

Later generations restored, and many international teams protected and restored Egyptian murals. For example, the plaster fragments of the famous Nefertari Tomb fell off, and the surface was covered with dirt and floating dust. 1986- 1992 it took on a new look after it was rescued by an international team.

In ancient Egyptian murals, there is a pattern with a circle above and a cross below. What does that mean? This is a mysterious symbol from Egypt, with a cross-shaped ornament and a ring on it. It was originally a gift from God to Pharaoh. Later, the ancient Egyptians used it to symbolize life, symbolizing the huge and hidden power hidden in a person's body, which would leave immortal traces. An He is the symbol of the oldest god in Egypt. According to legend, God stands on the sky, the earth and the river with an Ahe in his hand, showing the secret of life with infinite magic, and wishing a person to come into the world and leave an eternal mark. Originally, this symbol could only be used by Pharaoh, but with the passage of time, it gradually spread to the people. It is said that wearing this protective treasure can prevent disasters, diseases and magic, and help the wearer win the victory of love and war. People use this to pray for eternal health, love and wealth, as well as nostalgia for the mysterious primitive civilization.

Sense of order in ancient Egyptian murals

The primitive thinking of human beings has five attributes, namely concreteness, symbolism, wholeness, emotion and understanding. The primitive art of human beings is inseparable from the five attributes of human primitive thinking from the day it came into being, resulting in the corresponding primitive aesthetic thinking, as well as the artistic form and sense of order with the same origin and abnormity. Oriental aesthetic thinking and art forms, especially in ancient Egypt, are closely related to the integrity of human primitive thinking. Different races are born and developed in different corners of the world, but because they have the same life structure, they have similar thinking patterns and understanding of the natural world. We "believe in the existence of a sense of order, which comes from the perceptual theory we use when analyzing reproduction." The sense of direction in human sensory perception is the sensory controller of human memory and reproduction space, and it is the most basic basis for us to experience the sense of order. The sense of direction enables us to clearly and correctly locate our spatial position under the action of gravity, and enables us to understand and distinguish various sequential relationships like distance, height, front and back, combination and separation. Because of the sense of order, we can accurately analyze and grasp the constituent elements, expression techniques and artistic characteristics of an art form, and reproduce the aesthetic consciousness of a tribe or nation. On the contrary, to analyze and appreciate the sense of order in mural relief, we can also start with the integrity of ancient Egyptian aesthetic thought. First, the integrity, unity and symmetry of plaid style. The integrity of ancient Egyptian aesthetic thought is reflected in the strict observance of "frontal method" and multi-point perspective method on mural relief. Influenced by the concept of immortality in primitive religion and the law of witchcraft, Egyptians believe in the objective existence of souls, and think that a person has five corresponding souls, which are connected with this life and the next life. In order to continue to have everything before their death, they used pure skills to show all aspects of the object in the tomb murals, completely showing all the characteristics of anything, and striving for "absolute truth." The ancient Egyptians had sketches of real people as early as 4000 years ago. "Pharaoh Akhnaten, the new kingdom of the 18 dynasty, used to be a model for artists to sketch face to face and make sculptures." Through natural observation and sketch training, the ancient Egyptians mastered the principle of multi-point perspective, and finally formed the "right law" with Egyptian characteristics. We can also find evidence from many murals. Lotus and papyrus are the most common symbols in ancient Egyptian cultural relics. In the relief of Egyptian murals, Hator, as a goddess, often holds a lotus flower, and sometimes a god or monarch in the mural can be found wearing a lotus crown with two feathers, because lotus flowers are highly respected in ancient Egypt. "Lotus is regarded as sacred because it grows in water, and water is the earliest symbol of the primitive ocean that constitutes the universe." "Lotus blooms at sunrise and closes at sunset, which is related to the sun and becomes the source of life." Following the "Orthodoxy" and multi-point perspective, the lotus in ancient Egyptian art is usually reproduced as three sides in the two-dimensional form stage: (1) square; (2) the side; (3) Composite surfaces. "The ancient Egyptians symbolized the lotus by observing nature and refining the outline. All these symbolic lotus patterns have been completely reproduced, and they are symmetrical and balanced in form. The overall layout of Egyptian mural relief also has a sense of order as a whole, unity and symmetry. Taking Narmer slate as an example, the patterns carved on the slate depict the war and victory scenes of Mina dynasty, the earliest Egyptian dynasty. Observing each part, we can still find the influence of "positive law" on expression. The captured images of corpses and standing (including people and animals) are displayed from two different angles, namely, from top to bottom and from the side. Interestingly, Narmer and the waiter's profile also combined with the face-up angle, such as their eyes, chest and shoulders. Then observe the overall layout and shape of the slate. In ancient Egypt, squares or rectangles conforming to aesthetic habits were used to form a net structure according to a fixed size, and then the number of squares corresponding to the proportion of limbs was drawn according to the human body structure or gender and age differences. This is the "grid method". After the formation of mural relief works, the most primitive grid based on it naturally lurks under the brilliance of art and becomes the first clue to study the sense of order. On the surface of Narmer slate, except for hieroglyphics, monster waiters and enemy bodies, there is a horizontally divided strip or short line below each standing image to represent the ground, and these short lines representing the ground must overlap with the horizontal coordinate lines of the potential grid. This kind of picture processing method, which emphasizes formal beauty with horizontal linear and directional picture structure, is often used to express the image of the group. For example, put people on the same horizontal line in parallel to form a team, prevent overlapping and shielding, and pay attention to directionality and left-right symmetry. Or layered treatment, each layer represents a distance, the lower the closer, the highest and farthest, and the upper and lower are still symmetrical and unified. Second, the comparison of the size, height and rhythm of black, white and gray between geometric structures. The strict adherence to the "frontal method" and multi-point perspective method in the creation of Egyptian murals and reliefs proves that "ancient Egyptian artists only recognize three angles when carving objects: full frontal, strict lateral and strict overlooking. It seems that the artist of ancient Egypt observed the objective object according to the basic shape of a cuboid, and he knew an object from three axes: length, width and height. We can't help but think of the dominant position of geometry in the knowledge system of ancient Egypt. Franz boas, a famous anthropologist who studies tribal art, once asked such a question: Why do geometric elements often appear in artificial order? Intuition tells us that some types of simple structures are easy to combine. The combined rule expression is the product of human brain's control ability, so it is in obvious contrast with the mixed situation in nature and has the characteristics of conceptualization and stylization. The stylization of Egyptian mural relief just helps us to confirm this point. If we want to perceive a face, we must first go through a brain analysis process of perceiving and locating countless points, and then connecting them into lines to form a face. But this process is completed in an instant, so our understanding is often misled as our perception is based on the information of the receiver, thus ignoring the study of details. A careful analysis of every hieroglyph in ancient Egypt, which has the characteristics of picture symbols and exists in the form of single point elements, reveals that each character has a very complete image, just like a tree or an eye, and we can clearly feel the contrast in size and height. The same is true of specific independent figures. The "grid method" makes the proportional relationship between head, body and limbs balanced and appropriate. As far as character contrast is concerned, the image of the elderly is exaggerated, and the proportion of young people with low status is reduced. And when they are summarized in the form of faces in an orderly way by means of vertical layout or horizontal layout, the linear shape strengthens the shape of the whole text area. It not only promotes the change of the outline shape of the smallest element as a whole, but also makes it have a sense of order of linearity and directionality, thus producing the contrast of size, height, density and even color perception, which changes with the rhythm of black, white and gray blocks. Third, the psychological sense of order is permanent and stable. "One of the most basic manifestations of order is the sense of balance." The ancient Egyptians paid great attention to and were good at grasping the sense of balance, and often used "Libra" to materialize the sense of balance in their thinking. In Egypt's underworld fantasy, people will be asked and judged after death. In the "Palace of Truth", Osiris's Libra will measure human beings' good and evil, merits and demerits before they die, and this theme is often expressed in murals and reliefs. In real artistic creation, the law of balance is often followed. As we said before, the ancient Egyptians not only used a special grid method to make all the pictures balanced and stable in content and form, but also expressed the temporal activities in the form of "face to face" or "axis separation" and the non-temporal activities (diachronic relationship) in the form of "back to back" or "map method", and the top-down horizontal grid arrangement expressed the distance relationship. When you first face the Egyptian mural relief, It may be felt that the sculpture of relief image is too stylized and unnatural, and the development of mural style has not changed much, just following the traditional expression methods and extremely similar themes, the same posture and similar costumes. But after the test of time, they still have strange solemn beauty and show amazing stability. The beauty of Egyptian murals lies in the repeated study of history. The deeper you know, the deeper you are moved. There is nothing random and accidental in murals, and every detail is handled and arranged according to the same law or procedural order. The application of "positive method" and "lattice method" is the comprehensive result of many factors, such as the way the ancient Egyptians knew things, the requirements for the functions of works of art, and the way they understood and grasped beauty, which created the unique features of ancient Egyptian art. Here, the eternal concept of the ancient Egyptians and the artistic demand based on this concept played a decisive role. The layered, balanced and orderly composition of Egyptian murals reflects this sense of stability that transcends time and space and remains unchanged. In short, Egyptian murals are a picture with a strong sense of rhythm and rhythm. Because of understanding the existence of the sense of order and the grasp of the sense of order by the ancient Egyptians, we reproduce the complete and eternal aesthetic consciousness of this nation; Appreciate the integrity and unity, symmetry and unity, the size is patchy, the rhythm of black, white and gray is distinct, and the proportion is harmonious; Experienced the psychological feeling of permanent and stable beauty order. This is the sense of order and form in the relief of ancient Egyptian murals, which brings the greatest comfort to the human mind and leaves the greatest spiritual legacy to mankind. The basic characteristics of forehead law in ancient Egyptian murals The forehead law of characters in ancient Egyptian murals, that is, a person's head is on the side, shoulders, chest and hips are opposite, showing an uncoordinated forehead movement. In the standard frontal rule, a character stands with one leg striding forward, with his upper body facing the audience and his head sideways. So the audience can only see one eye of the character.

The law of animals is that large quadrupeds, such as cattle and sheep, walk with their front and rear hooves in tandem. What the audience sees is the profile of the animal. Generally speaking, animals with horns, such as cattle and sheep, have their heads facing the audience from the side and their horns facing the audience from the front, which is the characteristic of forehead law in animal murals. This feature can be found in almost all Egyptian murals from the ancient kingdom to the new kingdom, so I won't give an example. I hope to adopt it, but I don't know. What are the characteristics of ancient Egyptian murals? What is the relationship between ancient Egyptian murals and Egyptian life at that time? The ancient Egyptians believed that people would be resurrected after death, so they tried their best to preserve the bodies and make a large number of mummies. This demand is reflected in painting, which requires the depicted object to have sound limbs. As a result, the visual angle is limited, the picture is stylized and the characters are stiff. Sculpture is the same problem, especially the largest number of bas-reliefs.

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