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the tomb of hesy-ra
Page 7 of 9
As mentioned earlier, the walls of the tomb were decorated as well. The painter took
remarkable care in simulating surfaces. This concept of emulation for the afterlife was not
unfamiliar to the Third Dynasty. Djoser’s complex houses false buildings
solely for the gratification of the soul. Like the Egyptian view of representations of people,
representative objects and false textures effectively serve as that which they mimic when used in
the afterlife. For instance, the painter took the time to carefully simulate the wood grain on the
stone walls of the relief niches. (Smith, 1958, pg. 67) The paintings were scarcely mentioned in
the past. The nature of paint also compounds the issue as its survivability is
significantly lower than that of stone or wood when even slightly exposed. What has remained is,
on the one hand peculiar, yet on the other, remarkably interesting in its significance.
An odd aspect of the paintings is the perspective used. The formula for rendering true
perspective was not developed until the Renaissance. Annie Quibell, however, goes so far as to
state that the artist involved in Hesy-ra’s tomb was "a good deal embarrassed by the problem" of
depicting, realistically, objects such as a bull legged bed. (Quibell, pg.
17) Not just a far-fetched claim, studying this image is an effort in deciphering a rather peculiar
optical illusion. While it clearly seems like a bed, the perspective is quite strange. The legs on this
type of bed were based on carved ivory bull legs. (Aldred, pg. 107) Another
interesting aspect is the depiction of objects whose purpose continues to baffle scholars today.
For example, in one painting is shown "a row of graduated cylinders," which seems to lean
towards an idea of an established measurement or mathematical system. (West, pg. 210) Like
much of ancient Egypt, however, there are still quite a few puzzling enigmas. Yet, were it not for
the efforts of Jean Francois Champollion, the man credited with the first translation of Egyptian
hieroglyphs, there would be even more puzzles than there are today. (Aggarwal)
On a much more significant note, however, is the painter’s part in the just emerged trend
in the themes and styles of tomb paintings. The artist, for the first time, suggests the hairs on
cattle legs using brush strokes. Hesy-ra’s tomb gives the earliest example of painters depicting the
reality of the life left behind. (Smith, 1958, pg. 66) It is a precursor to the magnificent scenes
depicted in paintings such as those found in the sun temple of King Neuserra at Abu Ghurob.
(Robins, pg. 64) In one of Hesy-ra’s paintings, a crocodile awaits animals crossing
a swamp. Another painting is of a simple tool for measuring corn, which consisted of a wooden
"tub and striker." (Aldred, ills. 41) The idea of painting simple depictions of real life was
completely new in the Third Dynasty. The roots of this concept may be based on the ancient
Egyptians’ love of life and "lust for more life." (Frankfort, pg. 93) In later times, the idea
blossoms and the deceased are shown at work, enjoying themselves, with their families, and
generally involved in their day to day public activities. These images celebrate life and the
passage into the glorious eternity of the afterlife. (Rice, 1990, pg. 195) Yet by the time of 600
BC, this practice seems to have given way to a tight focus on ritual, religion, and god. (Frankfort,
pg. 94) This is an interesting aspect of the ever changing, ‘traditional’ Egypt.
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