Your Egypt

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Obelisk


The obelisk is a long and narrow architectural element with four sides, that it culminates with a pyramidal point. The ancient obelisks were drawn by an only block of stone (a monolith). The obelisks are monuments to a large extent of Egyptian origin.

The obelisks were important part of the architecture of the ancient Egyptians, that prepared them to couples to the entry of the temples. You knows of twenty-seven ancient obelisks Egyptians sopravissuti, more an incomplete partially found extracted by his extracts to Assuan.

The obelisk symbolized the god of the sun Ra, and during the brief religious reform of Akhenaton it was said a ray of petrified sun of the aten, the solar disk. You thought besides that the god existed inside its structure.

The Romans were madly in love with the obelisks, to the point that today the obelisks that are found in Rome are more than those remained in Egypt.

Not all the ri-erect Egyptian obelisks in the Roman's empire were put to Rome. It erodes the Great one it imitated Roman patrons and it raised an Egyptian obelisk in red granite in the racecourse of his new great city, Caesarian, in northern Palestine. This was discovered by the archaeologists and re-put in his place of origin.

To Constantinople, the emperor Teodosio of Bisanzio made to transport an obelisk in 390, and he set it in his racecourse on a base on purpose built, where resistette to crusaders and Turks selgiuchidi and whereit is found today still in Plaza of the racecourse in the modern Istanbul.

Rome is the world capital of the obelisks to consider. The more main point is almost certainly that in Plaza St. Pietro (25,5 ms). The obelisk has remained to its place since the 37 d.C., on the wall of the Circus of Nerone, that flanked the Basilica of St. Pietro.

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Egyptian temple

In ancient Egypt the temple was considered her "house of the god", the place in which the parties were celebrated and from which the celebrations departed in his honor.

The architectural structure of the temple reflects the Egyptian cosmogony and the same temple, independently from the entertained divinity, it represents the metaphor of the origin of the world.

The run templare develops him so "to spyglass" (or to funnel), with this intending that the ceiling gradually lowers hand hand that penetrates us toward the fund of the temple while, contemporarily, the floor raises him (through steps or I crossed in slope) so much that, from the grandeur of the "Pylon" of entry, he often reaches the cell of the a little taller divinity of a man. You assists, besides to the progressive passage from the light of the Short Colonnata to the faint light of the Room Ipostila, to the total dark of the Naos, the cell, that entertains the statue of the God.



The canonical model of the Egyptian temple, well individuabile in the temple of Khonsu that is found in the enclosure of the temple of Amon to Karnak, introduces the following typology:

to. the Pylon: normally preceded by an avenue of sphinxes (the dromos), is constituted by two muraglionis tapered upward that they represent the distant mountains among which the sun rises and dies. The faccaita is always decorated with scenes of the King that kill the enemy, to symbolize the victory of the good on the evil, of the order on disorder, of the truth on the injustice;
b. the Peristilio, or Short Colonnata: to open sky; it deals with a seed-public area in which you can enter the believers, and it is decorated with scenes of the victorious King. Hand hand that advances overall us templare the figure of the sovereign he goes sacralizying, up to the naos in which will be represented in the action to offer food to the God or to receive, from these, gifts;
c. the Room Ipostila: normally endowed with a multiple number of columns of 3 or 4, it represents the primordial swamp from which the primitive mound will emerge; the columns symbolize a sharp pain forest in which the light is hardly able pentrare, among the foliage, as the light hardly penetrates aloft in the room from the finetres to open feritoria. The soffotto is painted generalemnte of stars or symbols of divinity;
d.il Hallway: (or aditon) in which the operations of cult of the divinity were prepared;
and. the Cell: (or Naos), the "sancta sanctorum" that it contains the statue of the God to which can enter only the King and, in his place, the Top Priest not in how much such, but exclusively what the sovereign's substitute.
f. some side Chapels: what they entertain smaller divinity or as stores are used.

The walls of the temple were decorated with paintings and hieroglyphs in honor of the god and the faraone that had built it.

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Solar temple

The solar temple is a particular structure of the Egyptian sacred architecture.

Devoted Ra to the god the solar temples they appear during the V dynasty, the first one of which we have news it is note Nekhen Ra (Fortitude of Ra) erected by Irmaat, first sovereign of the dynasty, in the site of Abu Gurab.
The example of preserved solar temple is better probabilmewnte that of Setibtawy, Shepepu-ib-Ra (Delight of the heart of Ra), fifth sovereign of the dynasty.

Characteristic element of the solar temple is the obelisk, sets to the center of the central courtyard, in front of which an altar was found for the offers.
Likewise in the funeral temples typical of the Ancient Kingdom also the solar temple possessed a complex structure constituted by a temple to valley, built on the shore of the Nile, connected to the real temple from a ceremonial street, often cover. The ceremonial street finished in a portico, structure from which he will evolve, then, the typical pylon caratterizzante the temples of the New Kingdom.

With the end of the V dynasty the importance of the solar temple will also decrease notably.

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Sculpture



Also the sculpture as the painting, had to undergo to some traditional canons but in this case the artist it was freeeer than to express him. The first examples of sculpture found have been the statues of the Ka: they came buried together with the dead one and you/they were not seen by anybody. Only after sometime were made "public" but only to honor the king or to embellish his buildings and temples.

All the statues were rigorously painted: from those in wood to those of limestone or alabaster (only those in granite were left without color). It is not exactly known as the artists Egyptians has been able to carve with extreme safety and perfection the hardest stones, done it is that that they have left each other some magnificent works in diorite, granulated red and sierite: the hardest materials that are known and that still today with the modern disposition means are had notable difficulties by to work.
As for the painting, also initially the sculpture has to undergo to the "Law of the Frontalità" where the statue had to necessarily be sight of forehead: the head is always accurate while the body is more conventional a great deal. In the face of the statue the Egyptian artist will never make to shine through any feeling; only a turned look to the endless one and a smile just mentioned on the mouth. Even if it was had to represent two statues a neighbor to the other, the Egyptian sculptor it did so that, even if united by an embrace, these remain always lists and only. The statues little by little they will become more and more colossal; big monuments will become and they will make integral part of the Egyptian architecture. As for the painting, particular attention will be had in the creation of the stupendous statues of animals that perhaps they are the most beautiful of the whole history of the art. The Egyptian artist and his/her works, up to the epoch of Pericle, the most important will remain of the whole antiquity.