Last week, we already encountered several kinds of sculpture (Venus of Willendorf, Head of an Akkadian Ruler) and the different potential functions that three-dimensional art objects might play. This ancient Egyptian bust of Queen Nefertiti offers a new category of sculpture: the portrait bust. This portrait head carved from limestone, and completely in the round, was kept as a model in the artist's studio for the creation of standard likenesses of the ruler. Nerfertiti served as priestess in the new religion established under her husband's rule and thus has exceptional prominence in the history of Egyptian queens, which perhaps motivated a greater demand for portraits representing her. The right eye of this bust was never completed with inlay crystal and a painted pupil, likely because this was a model and not a finished work. We will discuss more background on Queen Nerfertiti in class, but based simply on these images, what would you see makes this work a portrait? What details of the bust indicate that she is an individual and not just an ideal type, or do you think it is some combination of the two?
And just for fun, here is a clever and humorous take on the difference between Egyptian and Greek approaches to representing the body (sent to me by one of your classmates):
I think that this bust of Queen Nefertiti can be considered a portrait because her facial expression and cannon of proportions look naturalistic. Her eyes, nose, mouth and ears seem to have the right proportions as well as her facial structure like her high cheekbones. However, she has the female physique of an elongated neck which indicates that the sculptor wanted her to look ideal too. Therefore I think that this portrait head is a combination of an individual and ideal type.
ReplyDeletenice observation about the proportionality of Nerfertiti's features -- it is surely one of the reasons why the bust remains so appealing to our aesthetic sensibilities today
DeleteThe lines around the mouth and under the eyes give the bust personality and character. These details suggest that the work is a portrait as the lines add expression to the face. However, the symmetry of the face (at least from the front) makes the bust appear less individual and more idealized.
ReplyDeleteabsolutely -- there is quite a bit of detail to her face that conveys the sense of individual character
DeleteOooo! I just saw Queen Nefertiti while I was traveling with my family in Berlin! I remember it was awe inspiring to behold an ancient artifact from nearly 3,300 years ago. Nefertiti is beautiful, and was a huge icon of her time. I wonder if she is portrayed too beautifully-to the point of idealization- or if her fame was simply a product of her true appearance. I am beginning to think this sculpture is a realistic portrayal with a few artistic revisions on behalf of the sculptor. Although she undoubtably resembles 'Nefertiti' as other artists had portrayed her, there is striking symmetry between both halves of her facade suggesting the sculptor perfected her features as a symbol of balance and beauty.
ReplyDeletethis is a thoughtful comment and mirrors what we discussed in class about the balance between individuality and idealization in the bust -- there is definitely a bit of both!
DeleteThe identity of being a Queen suggests both the individual and the ideal. The attention to detail, seen through how subtle Nefertiti's features are crafted, capture her individual beauty. At the same time the smoothness of her skin and the symmetry of her features suggest a divine beauty.
ReplyDeleteOn another note, the gaze of the bust is really interesting. It is highly naturalistic, and stares directly at the viewer. I wonder where a bust like this would have been displayed, if displayed at all. People could have the opportunity to catch a glimpse of their monarch at a rather intimate level.
yes, the eyes strongly convey a sense of liveliness and engagement with the viewer! as we discussed, this was a studio model not a finished work, but it would have served as an example for official likenesses of the queen erected elsewhere
DeleteI think that the Bust of Queen Nefertiti can be considered both as a representation of an individual and ideal. The naturalistic details and facial expressions make this work a portrait. The Queen is portrayed very realistically and her proportions look naturalistic unlike that of the Woman of Willendorf that we studied earlier. There are also some features of this sculpture that make it seems idealized, such as the elongated neck and emaciated cheeks. These features were probably part of the ideals of that time period. Also, the face is completely symmetrical and precise which adds to the beauty of the sculpture. The portrait seems to be too perfect. It is breathtaking just by looking at it through a photograph. Therefore, I think the Bust of Queen Nefertiti combines an individual and an ideal type.
ReplyDeletegood observation about the cheekbones as well, in addition to the long neck!
DeleteI think that while the Bust of Queen Nefertiti might be of an individual, it is an idealized version of that individual. She has a symmetrical face, smooth skin, and clean edged, full eyebrows. On top of that, her chin is up and her expression is calm and suggesting she is in control. I think the bust is meant to display the queen's confidence and power to those beneath her.
ReplyDeleteabsolutely, we discussed other Egyptian portraits in class that also show this raised chin and upward gaze as indicative both of power and control over the worldly domain, and humility in relation to the divine
DeleteThe statues holds both idealistic and individualistic characters as although the queen contains its own character through its naturalistic depictions, the attributes such as the high cheek bone, perfect symmetry makes the statue seem too perfect. Queen Nerfeti also has this staunched disposition because of its closed mouth, and chin up position. This is fitting as she does hold the title of queen.
ReplyDeletethe closed mouth is indeed interesting, as we will see that something dramatic happens in sculpture and painting -- during later periods of Western Art -- when figures begin to be depicted with open mouths as if actually speaking!
DeleteIn my opinion, the defining aspect that makes this work a portrait is the amount of attention to detail the sculptor dedicated to Nefertiti's left eye. When the left part of the face is covered, the statue immediately becomes a mere physical representation of Nerfetiti. But with the right side of the face covered, the statue immediately becomes life-like. The details the sculptor paid to the statue is furthermore visible in Nerfetiti's clear jawline, as well as the tendons emerging from her neck; its almost as if she were still breathing. One can only imagine how much more the bust would show if both of her eyes were complete.
ReplyDeleteindeed, the incomplete eye is interesting because it shows us the process of production underlying this sculpture, but it also reveals how important the eyes are in making a figure come to life
DeleteI also was able to see the bust in Berlin! I had read a book about Amenhotep/Akhenaten before I went and I remember that the art commissioned by Akhenaten and Nefertiti in a time known as the Amarna period was very different from the more traditional Egyptian style because it had a new vision of what it meant to be "ideal." The Amarna period focused on elongated necks and very defined facial features. While this sculpture may have captured certain characteristics of Queen Nefertiti, certain aspects of her portrayal were likely altered to suit the Amarna style.
ReplyDeleteabsolutely, the Amarna period -- as we discussed in lecture and is mentioned in your reading from Janson -- had a very singular stylistic mode that distinguished it from earlier periods in Egyptian art
DeleteIt's more likely to be a portrait than an ideal type. The bust contains so many details and it just looks beautiful comparing with the Venus of Willendorf. The Willendorf looks more like a symbol for fertility. In contrary, artists tends to make a wonderful piece for ruling class and a specific person. Thus, an artwork with careful details should likely be a portrait.
ReplyDeleteyes, good comparison to the Woman of Willendorf! This bust is very clearly a portrait, even if there is a degree of stylistic idealizing involved
DeleteThe portrait head of Queen Nefertiti is, in my opinion, the queen as both an individual and as an ideal. Previous sculptures of women have always been of what men expect and desire of a woman. They have been of a woman's body, which stress the importance of fertility and the idea that a woman is a reproductive object. Contrary to these, this sculpture highlights the queen's individual features. The artist captures her beauty and calls attention to her distinctive features and facial structure. The sculptures of women in the past have typically avoided defining facial features or have forgone portraying them at all. However, though we see the queen's individual beauty and regal facade, her beauty is "divine" as Amelia had put it. The symmetry in her face and the fact that it is free of fault makes her an "ideal" figure.
ReplyDeleteI appreciate you reading the comments of your fellow students and referring back to them! That is how this blog should work! Yes, the idealization of her features does very much give Nerfertiti a divine status that as we discussed, was an increasing part of the Egyptian representation of rulers
DeleteThe incomplete qualities of the portrait of Queen Nefertiti reflects its nature as an individual representation rather than as an ideal representation. If this bust were to be an ideal representation, the artist would have completed the piece in its entirety to show the flawless characterizations of the ideal. Additionally, the unique details on the collar and through the headdress are representative of an individual's preferences and not the overarching theme of perfection.
ReplyDeletethe incompleteness of the bust has to do with its function as a workshop model rather than a finished work (see my comments above)!
DeleteThe portrait bust of Queen Nefertiti is an idealized portrait. The individualized features of the queen's face are likely her own, but they have been dramatized and improved to reflect an in-human quality of beauty. Sculptures we saw of human before such as the Woman of Willendorf lacked individualization. The Woman of Willendorf had no face by which we can identify her and the focus of that tiny sculpture was her reproductive parts rather than the parts of her that identified her as a distinct individual such as her facial features. In this bust, it is likely that the queen's dark almond shaped eyes, sloped nose, large lips and general facial structure are her own. Yet, every one of her features has been exaggerated to some degree in this clearly flattering portrait. All of her features are in perfect proportion -- her eyes are perfectly almond shaped, her lips are plump, and her skin has the appearance of an incredibly smooth, buttery olive surface. In addition, her unusually long and slender neck is likely a reflection of an Egyptian standard of beauty that valued this appearance. The portrait bust was likely done by an artist who not only sculpted the bust from life but possibly was even commissioned by the Queen or her court to do this work of art and therefore was trying to please her with his representation.
ReplyDeleteThis is a lovely passage of visual analysis, great observation of detail!
DeleteTruthfully, throughout time, most anyone who was rich enough to commission portraits and busts of themselves were also high enough in rank and affluent enough to have "touch ups," in a sense. Royalty, in an effort to further elevate themselves above their subjects, are portrayed with otherworldly beauty and without the inherent physical flaws they may possess. Nefertiti was known for her beauty, but because Egyptian royalty were associated with the Egyptian pantheon, she is given an air of power, control, and this added perfect, symmetrical beauty to further distinguish herself as the elite and thus one to be revered.
ReplyDeletevery true! we will more examples of portraiture that walks the line between naturalistic and idealizing as the semester progresses!
Deleteher ears are so interesting
ReplyDeleteher ears are damaged, especially the left ear, which is not surprising given that they are probably the most fragile and delicate aspect of the sculpture as a material object
DeleteI find that her expression express a kind of calmness and she is raising her head a little bit, miaking her looks more aloof and a bit arrogant. Also this movement of her head enhance her elegant neck line!
ReplyDeleteyes, this affirms some of the other views expressed above about the emotional valence of the portrait bust
DeleteIn general, I have a few basic questions on Egyptian art as a whole:
ReplyDeleteFirst, Janson's stresses on pg 55 that in the funerary complex of King Djoser, the limestone was plastered over and disguised to look like lesser materials/decomposable materials. Was this simply to trick robbers or was there some larger aesthetic or cultural preference?
Secondly, in Janson's on pg 50 the book mentions the cultural view of Egyptians to prefer viewing the world in opposing dichotomies: earth and sky, chaos and order, etc. and that some scholars then because of this question how true the division between Lower and Upper Egypt really was (vs. myth). How prevalent is this theory?
Thirdly, in terms of slaves that worked on these different structures, how many (if you know) were native Egyptians vs foreigners?
The first question is really difficult to answer since our best document of the intentionality behind the Djoser funerary complex are the monuments themselves -- no commentary on aesthetic/cultural decisions underlying the tombs survives. Yes, the Egyptians certainly viewed the world according to opposing dichotomies (and we will see this is true in Christian medieval art as well). Don't worry too much about specific theories of scholars mentioned in your textbook! As for slaves, the great majority were foreigners who were often put into servitude as a result of being prisoners of Egyptian military exploits, though slavery was extensive and complex in ancient Egypt and there were even many different terms for words of "slave" (serf, servant, etc) distinguishing their roles and ranks.
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