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David C. D. Gansz - Art under Akhenaten and Nefertiti
18.04.2022, 17:23

Колежанска разработка от 80те години, въпреки това даваща един съвсем достъпен и всеобхватен обзор върху изкуството през епохата Амарна,  неговите изразни средства и специфика. Особено важно е разглеждането на артистичните похвати и посланията на изображенията в контекста на революционния поврат в религиозната идеология. Недостатък, макар и недотам значим, е залитането в опити да се обяснят стилистичните особености с концепции от юнгианската спекулативна дълбинна психология, но като цяло от тях не страдат нито изложението, нито основните изводи на анализа.

David C. D. Gansz - Art under Akhenaten and Nefertiti, Annandale-on-Hudson (New York), Bard College, 1982

- на английски език, от Google Drive, формат PDF. Сваляне с ляв бутон (downloading by left button) от страницата на предоставящия сървър, после през бутона стрелка надолу/after by down arrow button.


Added by: Admin | | Tags: Ехнатон, Ново царство, Амарна, древноегипетско изкуство, Нефертити, Древен Египет
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Total comments: 1
1 Admin  
In this present work the author hopes to reopen, based on recent findings and old alike,
the question of Akhenaten for scholarly discussion. He has chosen to do so by concentrating on the artistic works from Amarna. The reader should realize that “Religion was the major patron of the arts, so we must learn to know the religious concepts that took form in that art”, for, with Akhenaten we find “the King had linked art indissolubly with his religious innovations.”
The common means of approaching Amarna art and religion in the first half of this century was to see it as a revolution. Indeed, to an archaeologist covering a period of time almost four thousand years ago, a period of even a century appears minute. But herein we shall adopt an evolutionary argument which dispels the mythical notion of one artistic style and religion one day, and another the next. The obvious argument against an evolutionary argument concerning Egyptian art is the fact that artists had few of their previous master‟s finished works to draw upon, as these were, for the most part, sealed away in tombs for eternity. But the inherent psychological disposition which created the art could not be silenced, and shows itself.
Thus Amarna art will reflect a stage in the history of man‟s consciousness, and the necessary
starting point of its stylistic medium in art lies in the Theban tomb paintings from a half-century prior to Amarna. This will disprove Aldred‟s claim that “Akhenaten‟s innovations were mostly in the choice of subject matter; style remained unchanged in its fundamentals and consisted in the faithful acceptance of all the old conventions with the willful distortion of some of them.”
As we shall see, this comment seriously under-estimated stylistic innovations at Amarna.

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