Student Analytical Research Paper #1 of 2 samples
Ancient Egyptian Works:
Analyzing Elements and Principles of Design
RAMOSE’S BROTHER MAY AND HIS WIFE WERENER
From the tomb of Ramose, Thebes. Eighteenth Dynasty, c. 1375–1365 bce. Limestone relief. Credit: © 2016. Photo Scala, Florence
Student Papers
#1
The Ancient Egyptians are known for many things, the pyramids, mummies, the desert, and Pharaohs. In particular, they are known for their artistic style and implementation of their culture into their preserved tomb arts. When analyzing pieces of art, such as the two presented in this essay, one must look at the various elements and principles of design utilized to send a message to the observer. These aspects of art help us better understand and categorize various components of art history. Throughout this essay, I will first study the first piece entitled “Nebamun Hunting Birds in the Marshes”, see appendix A, then describe some of the surrounding research on said work, and finally compare the original painting with the sculpture entitled “Ramose’s Brother May and His Wife Werener,” see appendix B.
Primary Analyzed Art Work
The first piece is entitled “Nebamun Hunting Birds in the Marshes” and is from the tomb of Nebamun, Thebes from the Eighteenth Dynasty c. 1350 BCE. This painting is a wall painting on dry plaster and is approximately 83 by 98 centimeters large. It can be found currently at the British Museum in London. This work of art was influenced by culture of preparing the dead for a better life and tomb paintings describing the lives of the important, such of the time period.
Through further study of this work, one can come to conclusions about aspects surrounding Ancient Egyptian culture and history.
Elements & Principles of Design
When analyzing this Ancient Egyptian piece, or any for that matter, one should reference elements or principles of design such as scale, proportion, space, line, color, pattern, and so on. At first glance of Nebamun Hunting Birds in the Marshes, there is a lot going on. One can easily be overwhelmed by the various animals, colors, and line at work within this piece. While analyzing these pieces, one must be reminded of the conventions within Ancient Egyptian art.
By breaking down the piece into sections and analyzing the various components at play. For example, in the background of the painting there are vertical lines that break up and organize the hieroglyphics. These lines also serve as directionals almost pointing towards the main characters in the painting. Lines throughout many works of art direct the eye of the viewer towards important focal points. Starting with the element of line in art, one must first understand that line gives art an idea of movement and depth or space. As the hieroglyphics are on vertical axes, there are two horizontal anchor lines on which the figures are placed. The demonstration of these anchor lines, along the boat and the top of the water, are not uncommon in Ancient Egyptian artistic conventions. The line that makes up the bodies of the Nebamun and his wife adds movement to the piece and presents these individuals as mobile. There are also contour lines around these figures to define their shape and movement. Lines throughout the various works also add to space and depth.
The focal point of Nebamun in this piece is defined by multiple elements, including line, space, and color. Some color has been preserved over time throughout ancient artwork. In this piece specifically has pops of color that draws the eye to specific features. The bold color of
Nebamun draws attention to him as the main focal point. The Ancient Egyptians had a set hierarchy and artists expressed this within their works using various elements, including color. Darker colors are typically representative of objects for with power or strength. The softer tints of blue in the birds, the pond, and the clothing of the characters depict the meekness of these objects in comparison to Nebamun the hunter. Nebamun and his wife are in a possession of power in this piece. The lively detail presented shows the new life for Nebamun.
Pattern is one important aspect of ancient artwork that helps historians trace back the significance of various works. In the case of this painting’s repetitive patterns plays an important role in determining influence and relevance. In this painting there are four distinct patterns that can be observed. These include the birds that are being hunted, the garments Nebamun and his wife are wearing, the cattails coming out of the pond off to the side, and the fish below. The repetition of the birds and the fish give the audience an impression how the availability of food for the hunter. The pattern on the garments that are being worn attribute wealth and status to those that are wearing it. This specific pattern resembles many of the garments that were worn by wealthier individuals in Ancient Egypt. One can deduce that Nebamun wanted to present his wealth, power, and status to the world after his death through this painting.
Space, scale, and proportion are important to art, especially painting being that they are often 2 dimensional. Throughout history various artistic styles incorporated different techniques in order to present various levels of depth and focus the viewer’s eye on various focal points or planes. Depth can be created by the scale of objects or layering in various cases. When it comes to Ancient Egyptian artistic style, the scale of certain things represents the importance of those in society or in the story being told within the work. In this piece in particular, Nebamun is the largest object within the painting. This is his story. The scale of Nebamun and his wife among
the other animals is larger to demonstrate their hierarchy. This is one type of scale that is used by the artist(s). As I previously stated, some artists use layering to demonstrate depth and distance. When looking at the birds that Nebamun was hunting, they were layered to present distance between them and also to make it seem like he was hunting a large flock. Below the birds where he was hunting, the pond had papyrus flowers that were layered to give depth, movement and texture. As a side note, papyrus flowers were an important component of Egyptian life because it symbolically represents the lower kingdom of Egypt. To the Egyptians in this time, there may have been a reason behind how these elements were used in this way. Whether it be societal, political, or religious, art historians try to piece this information together using knowledge of historical events and traditions.
Symbolic references & research
This piece, originally acquired by Henry Scott in the 1820s, currently sits in the British Museum. This work is one part of a larger collection of what was once 11 wall paintings from Nebamun’s tomb-chapel in the Ancient city Thebes or thought to be from the northern part of the Dra Av el- Naga necropolis that cut into the hills across from the city. These paintings were completed by a team of artists that sketched the original plan and painted over it. The remnants of this work can be seen. Necropolis, such as the one this tomb is located, are villages or cities of the dead. In the Ancient Egyptian culture, the dead were buried with everything they could need in order to prosper in the afterlife. Those that were usually buried in tombs in the necropolis were those of higher status within the society. They were able to higher artisans to create a tomb fit for the story of their past and future lives. Art historians use the stories that are created by these artisans and what they know about society in order to piece together the legacies left behind.
There is not much that is known about Nebamun aside from the idea that he may have been an elite official. He had possibly been the accountant in charge of grain at the great Temple of Amun at Karnak, as some believe. His tomb captured the vibrant and engaging lives of the elite in Ancient Egypt. This painting also encompass the elements of a lifestyle Nebamun hoped to have in the afterlife. As this is one of eleven pieces of the original tomb, this painting is only a small glimpse into the life and afterlife of Nebamun. With these tombs, there were some aspects of polytheistic religion within. One god Horus, presented as a hawk, can be found in this specific painting as a guiding god for Nebamun. Other pieces of this tomb include wall paintings where there are herds of his cattle or they are enjoying a feast. In this fragment of the tomb, which is half of the original scene, Nebamun is hunting birds with his wife Hatshepsut and their daughter. The other half of the wall was an image of Nebamun spearing fish. Through background research on this portion of the scene the Khan Academy wrote “Fertile marshes seen as place of rebirth eroticism. Hunting animals could represent Nebamun’s triumph over forces of nature as he was reborn” (Paintings from the Tomb-chapel of Nebamun, n.d., para. 3). As I referenced earlier through the elements and principles of design, each component of these works holds symbolism to the world around them. The cat found in Nebamun Hunting Birds in the Marshes was probably a family pet but in Ancient Egyptian culture also represent the Sun-God hunting the enemies of light and order. Through the combination of the components analyzed in this essay, one can draw conclusions about how Nebamun lived, what he wished for the afterlife, and lastly, how Ancient Egyptian society impacted the artists.
Compare & Contrast
In order to understand the societal and artistic styling changes between periods of time in Ancient Egypt, art historians analyze and compare various works. The original painting that is described above is certainly difference than the sculpture found on page 70, entitled “Ramose’s Brother May and His Wife Werener”. This work is from the tomb of Ramose, Thebes from the Eighteenth Dynasty c. 1375–1365. While these works of art are made of different mediums, they are stylized adversely. The painting that has been described above has free figures and the viewer’s eye travels throughout the piece due to the multitude of movement happening. The eyes in the first painting is in one direction where as the second, the relief carving, is in the opposite. Many might believe that the directions presented impact the significance of these works. This painting, Nebamun’s, is also pattern and shape oriented. On the other hand, this second piece in comparison, is pale, dark, rigid, and dominantly geometric. In “Ramose’s Brother May and His Wife Werener”, a relief carving in limestone, utilizes very little variation in color. The pale background of the limestone contrasts with the dark eyes which adds a feeling of depth. Otherwise, spacial awareness of this piece is based on a earlier trend of layering places. The movement throughout the piece comes from the eyes and bodies of the figures facing right from one to another. There is a fluidity in the lines of their arms that aids the eye in traveling across the piece. Horizontal lines, such as the one their chairs are set on, and vertical lines, such as the hieroglyphic spacing pattern, gives this piece an authoritative look. The lines throughout this relief are geometric and structured where as Nebamun Hunting is primarily organic. One could believe through comparing these two works is that Nebamun may have come later than “Ramose’s Brother May and His Wife Werener” due to the change in stylized components in pattern and figure structure.
Conclusion
In art history, it is helpful that one understands both the artistic elements and principles of design as well as the political, societal, and religious aspects of time to draw conclusions about the relevance of art and the individuals who lived then. Through observations and research found on Nebamun’s tomb-chapel in Thebes, one can have a better understanding of the values Ancient Egyptians had and how that impacted the art left behind. Artisans to the untrained eye simply create works that may make us feel a certain way. To the trained eye one can see the influences around them. Throughout this essay I have studied “Nebamun Hunting Birds in the Marshes”, then described some of the surrounding research on said work, and finally compared the original painting with the sculpture “Ramose’s Brother May and His Wife Werener."
Works Cited
M. Stokstad & M. W. Cothren. (2018). Art History (6th ed.). (n.l.): Pearson Education.
Paintings from the Tomb-chapel of Nebamun. (n.d.). Retrieved from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun
The tomb-chapel of Nebamun. (n.d.). Retrieved from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/the-tomb-chapel-of-nebamun
Appendix A
NEBAMUN HUNTING BIRDS IN THE MARSHES
From the tomb of Nebamun, Thebes. Eighteenth Dynasty, c. 1350 bce. Wall painting on dry plaster, 315/8 × 385/8′′ (83 × 98 cm). British Museum, London.
Credit: © The Trustees of the British Museum. All rights reserved.
Appendix B
RAMOSE’S BROTHER MAY AND HIS WIFE WERENER
From the tomb of Ramose, Thebes. Eighteenth Dynasty, c. 1375–1365 bce. Limestone relief. Credit: © 2016. Photo Scala, Florence
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#2
Analyzing Elements and Principles of Design
NEBAMUN HUNTING BIRDS IN THE MARSHES
From the tomb of Nebamun, Thebes. Eighteenth Dynasty, c. 1350 bce. Wall painting on dry plaster, 315/8 × 385/8′′ (83 × 98 cm). British Museum, London.
Credit: © The Trustees of the British Museum.
|
From the tomb of Ramose, Thebes. Eighteenth Dynasty, c. 1375–1365 bce. Limestone relief. Credit: © 2016. Photo Scala, Florence
Student Papers
#1
The Ancient Egyptians are known for many things, the pyramids, mummies, the desert, and Pharaohs. In particular, they are known for their artistic style and implementation of their culture into their preserved tomb arts. When analyzing pieces of art, such as the two presented in this essay, one must look at the various elements and principles of design utilized to send a message to the observer. These aspects of art help us better understand and categorize various components of art history. Throughout this essay, I will first study the first piece entitled “Nebamun Hunting Birds in the Marshes”, see appendix A, then describe some of the surrounding research on said work, and finally compare the original painting with the sculpture entitled “Ramose’s Brother May and His Wife Werener,” see appendix B.
Primary Analyzed Art Work
The first piece is entitled “Nebamun Hunting Birds in the Marshes” and is from the tomb of Nebamun, Thebes from the Eighteenth Dynasty c. 1350 BCE. This painting is a wall painting on dry plaster and is approximately 83 by 98 centimeters large. It can be found currently at the British Museum in London. This work of art was influenced by culture of preparing the dead for a better life and tomb paintings describing the lives of the important, such of the time period.
Through further study of this work, one can come to conclusions about aspects surrounding Ancient Egyptian culture and history.
Elements & Principles of Design
When analyzing this Ancient Egyptian piece, or any for that matter, one should reference elements or principles of design such as scale, proportion, space, line, color, pattern, and so on. At first glance of Nebamun Hunting Birds in the Marshes, there is a lot going on. One can easily be overwhelmed by the various animals, colors, and line at work within this piece. While analyzing these pieces, one must be reminded of the conventions within Ancient Egyptian art.
By breaking down the piece into sections and analyzing the various components at play. For example, in the background of the painting there are vertical lines that break up and organize the hieroglyphics. These lines also serve as directionals almost pointing towards the main characters in the painting. Lines throughout many works of art direct the eye of the viewer towards important focal points. Starting with the element of line in art, one must first understand that line gives art an idea of movement and depth or space. As the hieroglyphics are on vertical axes, there are two horizontal anchor lines on which the figures are placed. The demonstration of these anchor lines, along the boat and the top of the water, are not uncommon in Ancient Egyptian artistic conventions. The line that makes up the bodies of the Nebamun and his wife adds movement to the piece and presents these individuals as mobile. There are also contour lines around these figures to define their shape and movement. Lines throughout the various works also add to space and depth.
The focal point of Nebamun in this piece is defined by multiple elements, including line, space, and color. Some color has been preserved over time throughout ancient artwork. In this piece specifically has pops of color that draws the eye to specific features. The bold color of
Nebamun draws attention to him as the main focal point. The Ancient Egyptians had a set hierarchy and artists expressed this within their works using various elements, including color. Darker colors are typically representative of objects for with power or strength. The softer tints of blue in the birds, the pond, and the clothing of the characters depict the meekness of these objects in comparison to Nebamun the hunter. Nebamun and his wife are in a possession of power in this piece. The lively detail presented shows the new life for Nebamun.
Pattern is one important aspect of ancient artwork that helps historians trace back the significance of various works. In the case of this painting’s repetitive patterns plays an important role in determining influence and relevance. In this painting there are four distinct patterns that can be observed. These include the birds that are being hunted, the garments Nebamun and his wife are wearing, the cattails coming out of the pond off to the side, and the fish below. The repetition of the birds and the fish give the audience an impression how the availability of food for the hunter. The pattern on the garments that are being worn attribute wealth and status to those that are wearing it. This specific pattern resembles many of the garments that were worn by wealthier individuals in Ancient Egypt. One can deduce that Nebamun wanted to present his wealth, power, and status to the world after his death through this painting.
Space, scale, and proportion are important to art, especially painting being that they are often 2 dimensional. Throughout history various artistic styles incorporated different techniques in order to present various levels of depth and focus the viewer’s eye on various focal points or planes. Depth can be created by the scale of objects or layering in various cases. When it comes to Ancient Egyptian artistic style, the scale of certain things represents the importance of those in society or in the story being told within the work. In this piece in particular, Nebamun is the largest object within the painting. This is his story. The scale of Nebamun and his wife among
the other animals is larger to demonstrate their hierarchy. This is one type of scale that is used by the artist(s). As I previously stated, some artists use layering to demonstrate depth and distance. When looking at the birds that Nebamun was hunting, they were layered to present distance between them and also to make it seem like he was hunting a large flock. Below the birds where he was hunting, the pond had papyrus flowers that were layered to give depth, movement and texture. As a side note, papyrus flowers were an important component of Egyptian life because it symbolically represents the lower kingdom of Egypt. To the Egyptians in this time, there may have been a reason behind how these elements were used in this way. Whether it be societal, political, or religious, art historians try to piece this information together using knowledge of historical events and traditions.
Symbolic references & research
This piece, originally acquired by Henry Scott in the 1820s, currently sits in the British Museum. This work is one part of a larger collection of what was once 11 wall paintings from Nebamun’s tomb-chapel in the Ancient city Thebes or thought to be from the northern part of the Dra Av el- Naga necropolis that cut into the hills across from the city. These paintings were completed by a team of artists that sketched the original plan and painted over it. The remnants of this work can be seen. Necropolis, such as the one this tomb is located, are villages or cities of the dead. In the Ancient Egyptian culture, the dead were buried with everything they could need in order to prosper in the afterlife. Those that were usually buried in tombs in the necropolis were those of higher status within the society. They were able to higher artisans to create a tomb fit for the story of their past and future lives. Art historians use the stories that are created by these artisans and what they know about society in order to piece together the legacies left behind.
There is not much that is known about Nebamun aside from the idea that he may have been an elite official. He had possibly been the accountant in charge of grain at the great Temple of Amun at Karnak, as some believe. His tomb captured the vibrant and engaging lives of the elite in Ancient Egypt. This painting also encompass the elements of a lifestyle Nebamun hoped to have in the afterlife. As this is one of eleven pieces of the original tomb, this painting is only a small glimpse into the life and afterlife of Nebamun. With these tombs, there were some aspects of polytheistic religion within. One god Horus, presented as a hawk, can be found in this specific painting as a guiding god for Nebamun. Other pieces of this tomb include wall paintings where there are herds of his cattle or they are enjoying a feast. In this fragment of the tomb, which is half of the original scene, Nebamun is hunting birds with his wife Hatshepsut and their daughter. The other half of the wall was an image of Nebamun spearing fish. Through background research on this portion of the scene the Khan Academy wrote “Fertile marshes seen as place of rebirth eroticism. Hunting animals could represent Nebamun’s triumph over forces of nature as he was reborn” (Paintings from the Tomb-chapel of Nebamun, n.d., para. 3). As I referenced earlier through the elements and principles of design, each component of these works holds symbolism to the world around them. The cat found in Nebamun Hunting Birds in the Marshes was probably a family pet but in Ancient Egyptian culture also represent the Sun-God hunting the enemies of light and order. Through the combination of the components analyzed in this essay, one can draw conclusions about how Nebamun lived, what he wished for the afterlife, and lastly, how Ancient Egyptian society impacted the artists.
Compare & Contrast
In order to understand the societal and artistic styling changes between periods of time in Ancient Egypt, art historians analyze and compare various works. The original painting that is described above is certainly difference than the sculpture found on page 70, entitled “Ramose’s Brother May and His Wife Werener”. This work is from the tomb of Ramose, Thebes from the Eighteenth Dynasty c. 1375–1365. While these works of art are made of different mediums, they are stylized adversely. The painting that has been described above has free figures and the viewer’s eye travels throughout the piece due to the multitude of movement happening. The eyes in the first painting is in one direction where as the second, the relief carving, is in the opposite. Many might believe that the directions presented impact the significance of these works. This painting, Nebamun’s, is also pattern and shape oriented. On the other hand, this second piece in comparison, is pale, dark, rigid, and dominantly geometric. In “Ramose’s Brother May and His Wife Werener”, a relief carving in limestone, utilizes very little variation in color. The pale background of the limestone contrasts with the dark eyes which adds a feeling of depth. Otherwise, spacial awareness of this piece is based on a earlier trend of layering places. The movement throughout the piece comes from the eyes and bodies of the figures facing right from one to another. There is a fluidity in the lines of their arms that aids the eye in traveling across the piece. Horizontal lines, such as the one their chairs are set on, and vertical lines, such as the hieroglyphic spacing pattern, gives this piece an authoritative look. The lines throughout this relief are geometric and structured where as Nebamun Hunting is primarily organic. One could believe through comparing these two works is that Nebamun may have come later than “Ramose’s Brother May and His Wife Werener” due to the change in stylized components in pattern and figure structure.
Conclusion
In art history, it is helpful that one understands both the artistic elements and principles of design as well as the political, societal, and religious aspects of time to draw conclusions about the relevance of art and the individuals who lived then. Through observations and research found on Nebamun’s tomb-chapel in Thebes, one can have a better understanding of the values Ancient Egyptians had and how that impacted the art left behind. Artisans to the untrained eye simply create works that may make us feel a certain way. To the trained eye one can see the influences around them. Throughout this essay I have studied “Nebamun Hunting Birds in the Marshes”, then described some of the surrounding research on said work, and finally compared the original painting with the sculpture “Ramose’s Brother May and His Wife Werener."
Works Cited
M. Stokstad & M. W. Cothren. (2018). Art History (6th ed.). (n.l.): Pearson Education.
Paintings from the Tomb-chapel of Nebamun. (n.d.). Retrieved from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun
The tomb-chapel of Nebamun. (n.d.). Retrieved from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/the-tomb-chapel-of-nebamun
Appendix A
NEBAMUN HUNTING BIRDS IN THE MARSHES
From the tomb of Nebamun, Thebes. Eighteenth Dynasty, c. 1350 bce. Wall painting on dry plaster, 315/8 × 385/8′′ (83 × 98 cm). British Museum, London.
Credit: © The Trustees of the British Museum. All rights reserved.
Appendix B
RAMOSE’S BROTHER MAY AND HIS WIFE WERENER
From the tomb of Ramose, Thebes. Eighteenth Dynasty, c. 1375–1365 bce. Limestone relief. Credit: © 2016. Photo Scala, Florence
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#2
Art has always been a way that humans have expressed themselves and document not only special events, but daily life as well. Among the early civilizations in existence before the Common Era that are characterized by their unique and individual art forms, Ancient Egypt has quite an array of fascinating art pieces that we still enjoy and observe to this day. One such piece of art is pictured above and is titled Nebamun Hunting Birds in the Marshes. The artist for this painting remains unknown. This was found in the tomb of Nebamun, who was a scribe and grain accountant during his life at the Temple of Amun. His tomb was located in Thebes, which used to be the capital of Egypt until King Akhenaten moved it to the city of Akhenaten during his reign from 1353-1336 BCE. The piece itself was created around1350 BCE. It is approximately 32 inches tall and 39 inches wide (Stokstad, M., & Cothren, M. W.). Nebamun Hunting Birds in the Marshes is a painting, which is an additive process and this specific piece is considered a fresco. A fresco is when paint is applied to plaster. If it is a buon fresco, the color is applied when the plaster is wet and absorbs into the plaster as it dries. A fresco secco is when the plaster is painted after it dries. The painting was done on dry plaster, leading one to believe that it is a fresco secco (Stokstad, M., & Cothren, M. W.).
The art piece pictures Nebamun enjoying leisure time with his family. He is on a pontoon-type boat with his wife, Hatshepsut, their small daughter, and their cat while on the hunt for birds (Stokstad, M., & Cothren, M. W.). The human figure clasping onto Nebamun’s leg can be identified as a child by her long hair, which was characteristic of small children within this culture during this time period. There are plenty of water-bound creatures that are visible in the river, as well as the multiple birds that are in the picture. This can almost be seen as symbolic to the lavish lifestyle, filled with fine foods, these individuals would have had from holding the status of elitists in Ancient Egypt society. This interpretation is possibly in part by the analysis of basic elements and principles of designs. Four of these elements and principles that are very prevalent and critical to this piece are line, color, pattern, and scale, proportion and how space is used within the painting.
Line is one of the basic elements of art and design. It is defined as the path of a moving point and can be facing in many different directions and can have many different meaning and implications depending upon how it is used. It also can help define direction (Stokstad, M., & Cothren, M. W.). In Nebamun Hunting Birds in the Marshes, there are two very significant lines. In Ancient Egyptian art, lines that signified the ground in paintings, called anchor lines, were very prevalent (Pepper, J.). There just happens to be two anchor lines in this painting. The first anchor line is the boat upon which Nebamun and his family are perched upon. This anchor lines “supports” the main attraction of the painting, which happens to be the large Nabamun and the rest of his family. The second anchor line that can be found is the top of the lake itself. This line separates the water-dwelling fish below it and the bird filled space above it. It also is the line that the boat sits on, showing that the boat is in the water and that they are in the same plane of space.
There are other analyses that can be made while observing line in the painting. For example, the humans and animals in the painting are based off of horizontal lines in the pictures, mainly from the anchor lines. This shows that they are moving in a horizontal direction. However, these horizontal lines show that they are not moving rapidly, as horizontal lines are generally interpreted as being average speed or slower than a diagonal one (Pepper, J.). On the other hand, there are hieroglyphics in the background of the picture. They hieroglyphics are situated in vertical columns, which is similar to the horizontal registers seen with hieroglyphics and other images that run horizontally in other pieces of Ancient Egypt art adding directional contrast. These registers are a way of organizing information so it is viewed in the order that the story is meant to be told (Pepper, J.). The hieroglyphics seen in Nebamun Hunting Birds in the Marshes tell the tale of what is happening in the picture, and even contain hieroglyphics pertaining to the sun god Horus that was heavily worshipped before King Akhenaten switched to a monotheistic religion.
Color is another basic element that is so influential in this piece. The colors seen in this painting are basically earth tones. These tones of colors are derived from the earth through different substances such as charcoal, certain berries, and other natural items (Stokstad, M., & Cothren, M. W.). The painting also appears to contain the main primary colors, including shades of blue, red, and yellow. These colors are significant in that the red signifies the skin tone these individuals must have had from living in the hot climate of Egypt. Also, the color that was placed on their clothing signifies a lot about their social standing. Although it was rare to find paintings created that featured the common folk or slaves during this time, the coloring of their garments solidifies the assumption that the individuals featured in this piece of art belong to the elitist group of Ancient Egypt. They are garnished in lavish and colorful accessories, such as Nebamun’s collar and bracelet. They appear to be depicting a beautiful blue stone of sorts. Both his wife and child appear to be adorned with yellow earrings and a collar or shawl that is also yellow. The yellow in this painting may be representative of gold or some other precious stone adorned by the elite in Ancient Egyptian culture (Stokstad, M., & Cothren, M. W.).
Color also impacts our interpretation of Nebamun Hunting Birds in the Marsh by depicting which hieroglyphics should be focused on. Bold, black paint is meant to grab the attention of a viewer as it is very contrasted to the other lighter colors featured in the painting. There is a vertical column of hieroglyphics that is just to the right of Nebamun and is situated between he and his wife. This column, although one can not be sure of what exactly it is communicating without a translation, can be seen as being fairly important because of its bolded quality. It almost seems as though these hieroglyphics are comparable to the captions that can be found under pictures in our modern publications, such as newspapers. These captions generally depict what is going on in the picture and who is pictured. Overall, color is another important element that allows us to interpret this painting even further to earn about the Ancient Egyptian civilization.
The third element that will be discussed is pattern. This principle of design is one that calls for repetition of an object or design all throughout the piece of work (Pepper, J.). One prime example of pattern being used in Nebamun Hunting Birds in the Marshes is in the family’s clothing and accessories. As discussed previously, they all have fancy accessories adorning them, and they all seem to have a similar pattern throughout. The patterns include triangle and semi-circle shapes that appears in the different colors that are used in this painting. This use of patterns can be used to show unity between the individuals or items that it is on. This can be seen in modern dishware, where sets of dishes have the same patterns on them and match to show that they are a matching set. It also provides a sense of balance on the painting. This proves to be true because the other individuals on the boat with Nabemun happen to be his wife and his daughter.
Pattern can also be found in the plants in the painting. These plants are papyrus plants, which was a symbol for Lower Egypt at one point. Again, the pattern signifies that the plants are all the same. However, the use of the pattern also helps show direction in this particular painting. The heads of the plants, where you see the repeating red-white-red pattern are typically upright when there is no pressure of other forces working on them. However, at the head of the boat it is apparent that the plants begin to curve, and the patterned head of the plants start to become angled. This change of angle shows that the boat is pushing against them. Therefore, the boat is moving to the left, giving the painting a sense of leftward movement or direction. Likewise, it appears that the cat is resting on two branches of papyrus while hunting. This may not be easily noticed at first by one who is casually observing the painting. However, a hint of the pattern that is seen on the heads of the plants can catch one’s eye near Nabemun’s lower leg. This then draws the viewers to follow the blue stalk of the plant to find that it indeed originates from the papyrus plant.
The last element to be discussed about Nebamun Hunting Birds in the Marshes is scale, proportion and how space is used within the painting. As one can see, there is a stark difference in the size of the human figures in the painting. This can be attributed to hierarchical scale, which was a common element of the artistic conventions in Ancient Egyptian society (Stokstad, M., & Cothren, M. W.). This method of scaling dictates that individuals or items that are most important tend to be larger and may be placed higher up on the panting than those who were inferior to that individuals. This could be the reason that Nebamun was painted so large on the painting. He was an elitist and a male, which was an ideal combination in Ancient Egyptian society. His wife and young daughter were pictured much smaller than him, showing that he was the dominant head of the family. Likewise, hierarchical scale even comes into play with his daughter compared to the fish and the birds, and even with the cat. This could prove that at this time, Nebamun’s daughter was very small and could not help in the hunting process. It is theorized that she is grabbing onto Nebamun’s leg either out of affection or trying to stabilize herself on the boat and is a bit nervous about it (Stokstad, M., & Cothren, M. W.). This can lead one to believe that this may have even been her first time out on the boat and will not be helping hunt or even fish. This is the reasoning behind why she is pictured so small. Even the cat appears to be helping with the hunting process and is being productive, which could quite possibly be why the cat is pictured larger than the child. Nebamun is being extremely productive in the hunt, as he already has three birds in his right hand. The birds and fish are essential to their survival as they are a source of food, so this ranking encourages these animals to be painted fairly larger than they may be in real life because they are so important to survival.
Scale, proportion and how space is used within the painting is also used to provide the viewer with a sense of depth. Layering different objects or individuals in the picture shows that some objects are in the foreground, and others are in the background in overlap (Pepper, J.). One instance of this is with the boat against the papyrus plants. The boat is layered in front of the plants, giving it the impression that the boat is in the foreground and the papyrus is located slightly behind it. Layering also comes into play with how the hieroglyphics are situated in the picture. The lighter hieroglyphics appears to be in the background as they dissipate when a human or animal’s body is painted in the fresco. This leads one to believe that these hieroglyphics are supplementary information to the picture, but are meant to possibly be observed after the characters in the foreground are viewed. However, the dark, bolded hieroglyphics that are painted in black between Nebamun and his wife appear to be in the foreground. The tassels that are draping down from Nebamun’s collar seem to either go right up to the side of the hieroglyphics, or are eve overlapped by the hieroglyphics. This placing in the picture, along with the bold coloring, draws attention to it before one is drawn to the lighter hieroglyphics in the background.
While Nebamun Hunting Birds in the Marshes is a wonderful example of Ancient Egyptian art, Ramose’s Brother May and His Wife Werner is another fine example of the creativity of the Ancient Egyptian civilization. This piece of work was found in the tomb of Ramose, located in Thebes, just like Nebamun’s tomb. It was created between 1375-1365 BCE (Stokstad, M., & Cothren, M. W.). Unfortunately, the author(s) of this piece is unknown as well. Contrary to Nebamun Hunting Birds in the Marshes, this piece of art is a relief. This is a subtractive process, where designs are carefully chiseled into some medium (Pepper, J.). The medium that this art piece is created from is limestone (Stokstad, M., & Cothren, M. W.). Ramose was another member of the elitists in Ancient Egypt. He was the Mayor of Thebes and was also a royal advisor to Amenhotep III and Amenhotep IV. This status allowed him to have a grand tomb built for him, consisting of four rooms. One of these rooms was actually a majestic hypo-style hall that was 82 feet wide. Unfortunately, this tomb was abandoned and never utilized after King Akhenaten moved the capital to the northward city of Akhenaten (Stokstad, M., & Cothren, M. W.).
Since the tomb was abandoned, all the reliefs that were carved into it were never painted. In all reality, many of these reliefs were not even finished and were just preliminary works that needed more detailing. These reliefs captured youthful moments in Ramose’s life with friends and family (Stokstad, M., & Cothren, M. W.). The reliefs all gave sense of warm feelings and fond memories. Within the beauty found in Remose’s Brother May and His Wife, there are many elements and principles that can be analyzed. The four elements that were analyzed in Nebamun Hinting Birds in the Marshes are also apparent in Ramose’s Brother May and His Wife Werner.
Line is evident in this painting in many instances. Similar to the first work of art, this piece has anchor lines within the relief, as well as vertical lines organizing and separating columns of hieroglyphics. One anchor line is located at the bottom of the relief, and is what the individuals’ feet and chairs are resting on. However, there are more anchor lines in the work that are higher up than the ones found in Nebamun Hunting Birds in the Marshes. The seats of the chairs that the individuals are seated upon act as anchor lines to support and hold up the people. This anchor line, that is higher up in the relief than in the painting of Nebamun, almost gives the sense that the individuals in Ramose’s Brother May and His Wife Werner are of higher importance and are doing an activity that is of great importance than Nebamun and his family hunting in the marshes because of the concept of hierarchical scale.
There is a stark difference between the colorful Nebamun Hunting Birds in the Marshes and the bare Ramose’s Brother May and His Wife Werener. As previously discussed, Nebamun Hunting Birds in the Marshes is filled with a variety of eye-catching colors. On the other hand, Ramose’s Brother May and His Wife Werener has no color in it because it was in Ramose’s Tomb, which was abandoned before the reliefs were ever finished (Stokstad, M., & Cothren, M. W.). If this lack of color had been intentional, it would have possibly lead someone to believe that the relief depicted a solemn or very serious event; one which color would detract the mood from. While the majority of the painting lacks any colors, there is a bolded outline around the eyes and where the eyebrows are located. This striking, contrasting difference immediately draws one’s attention to the eyes of the individual. It is said that the eyes are windows to the soul, so if this color decision had been intentional, it could provoke the reader to interpret the mood or emotions that this individuals are experiencing or portraying. It has been scientifically proven that true emotions can be determined by looking at one’s eye, not just by interpreting the other facial expressions such as mouth shape (Ludden, D., Ph.D.).
Pattern is apparent in Ramose’s Brother May and His Wife Werner. In Nebaum Hunting Birds in the Marshes, it was determined that all of the humans in the picture were clothed in garments that had a similar pattern. A similar pattern, composed of triangles and semi-circles, can be found in the accessories won by the individuals in Ramose’s Brother May and His Wife Werner. Again, this could be interpreted as a symbol that they both belong to the same social class, which holds true because they were all part of the elitist social class (Stokstad, M., & Cothren, M. W.). Their hair contains intriguing patterns which could be decadent hairstyles possessed by the elite. The color in Nebamun Hunting Birds in the Marshes makes it very difficult to determine if they have the same patterns in their hair or not.
Lastly, scale, proportion and how space is used within the relief is portrayed in ways that are similar to Nebamun Hunting Birds in the Marshes. However, there are some differences in the way that it is portrayed in both art pieces as well. The hieroglyphics in Ramose’s Brother May and Wife Werener appears to be in the background, while the individuals themselves are in the foreground. The overlapping similar to that in Nebamun Hinting Birds in the Marshses, where use of space in the painting is used to draw attention to certain parts of the work over other parts. While they are similar, there is no hierarchal scale apparent in Ramose’s Brother May and His Wife Werner. All individuals are the same size, which hints that they are seen as equals.
As one can see, analyzing the elements and principles of design allows us to understand art history. These two beautiful pieces from Ancient Egypt are both interesting and educational. The elements and principles of line, color, pattern and scale, proportion and how space is used within the work of art can help art historians understand a lot about a piece and further contribute to our understanding if the past and their artwork. While every piece of art is unique in its own ways, similarities can be found by analyzing the basic elements and principles of art.
Work Cited
Ludden, D., Ph.D. (2015, December 31). Your Eyes Really Are the Window to Your Soul. Retrieved March 21, 2018, from https://www.psychologytoday.com/us/blog/talking apes/201512/your-eyes-really-are-the-window-your-soul
Pepper, J. (Spring 2018). NOTES: Art of the Ancient Egypt. Chapter 3. Retrieved from http://sp2018fa111caz.blogspot.com/2018/02/notes-art-of-ancient-egypt-chapter-3.html
Stokstad, M., & Cothren, M. W. (2017). Art History (6th ed., Vol. 1). Pearson.
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As expressed, Nebamun stands governing all in size and scale, for he is the largest object in the picture. Nebamun standing in composite pose, arms raised in hunting position, is the focal point or center of the painting. In Egyptian art, the higher in importance the subject of the painting or sculpture, the less lifelike the depiction of them would be (Stokstad, M., & Cothren, M. W,.p.54). Typically, those in tomb paintings like this were seen in composite pose, where the torso and eyes were displayed frontally and seen in most importance. Whereas the legs, the arms, and the head appear to be moving in one direction, facing profile, creating a very unnatural and not “lifelike” pose (p. 54).
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The Ancient Egyptians lived and flourished from the fertile land that was naturally gifted by the Nile River. By 8000 BCE, Egyptians began to settle around the Nile River due to the abundance of fish, game, and wild plants that grew in the area (Stokstad, M., & Cothren, M. W., p. 50). The Egyptians placed strong belief and value on the human personality which they referred to as ka, also known as “life force” or the “eternal soul” (p. 54). They lived their lives will a longing intent to die and spend eternity in the afterlife, to live their best life after their Earth life. Ancient Egyptian royalty developed extravagant funerary practices to create an everlasting link between the soul and the afterlife, to ensure that after the death of the body the ka live abundantly in all of their desired enjoyments. Tombs were designed as part of the burial process. They were highly decorated with art forms such as pictorial relief sculptures and fresco paintings on the walls that created dialogue through images and hieroglyphics (p. 54). The 18th Dynasty spanned from 1539 BCE to 1292 BCE (p.52) where the Tomb-chapel of Nebamun and the Tomb of Ramose were created and left remaining.
In Egypt’s capital of Thebes, under the 18th Dynasty in 1350 BCE, a painting titled Nebamun Hunting Birds in the Marshes is a fresco painting on the dry plaster walls of the tomb of Nebamun. The piece stretched 32” x 39”, which is the remains of what used to be a wall painting twice the size originally showing a similar portrait of Nebamun, wife and child, spearing fish from the Nile (Hooper, 2008). Nebamun was a scribe and grain accountant at the Temple of Amun in Kamak. He was not a rich man, yet he grew of importance through his line of employment which enabled him to express his dreams of eternal life in his own tomb (p.1).
The painting at first glance is scenery of Nebamun’s family partaking in leisure activity during his eternal life after Earth (Stokstad, M., & Cothren, M. W., p. 71). Hatshepsut, the wife of Nebamun, stands beside him in the portrait in her best jewelry and clothing. The daughter of
Nebamun and Hatshepsut sits below her father on the boat, smallest in proportion. She rests picking lotus flowers from the water of the Nile River as she holds her father’s right leg for stability, which also creates a sense of warmth and solidity in the piece. To the left of the family is a papyrus plant painted in bright blue, the papyrus plant was a symbol for Lower Egypt as the lotus flower represents Upper Egypt (p.53). Just in front, slightly to the left of the papyrus, is a cat which appears to be hunting fish along with Nebamun. According to the Kahn Acadmeny (2018), the cat could likely symbolize the Sun-god Ra, who would protect the family from enemies to the light and order. This may be the answer to why the cat is larger in scale and proportion to the child. Through this symbolism, the cat adds strength and protection to the scene, as well as help in the hunting of the birds and fish. Nebamun stands dominant over all in his afterlife in the eternal stillness of his tomb painting. He lives on with the warmth and stability of family, guidance and protection from Ra the Sun God, and the abundance of life and promise of the Nile River.
As expressed, Nebamun stands governing all in size and scale, for he is the largest object in the picture. Nebamun standing in composite pose, arms raised in hunting position, is the focal point or center of the painting. In Egyptian art, the higher in importance the subject of the painting or sculpture, the less lifelike the depiction of them would be (Stokstad, M., & Cothren, M. W,.p.54). Typically, those in tomb paintings like this were seen in composite pose, where the torso and eyes were displayed frontally and seen in most importance. Whereas the legs, the arms, and the head appear to be moving in one direction, facing profile, creating a very unnatural and not “lifelike” pose (p. 54).
Not only does Nebamun appear to be in front of his environment including his wife and daughter, he is above them. He is the main character in this scene of his afterlife because he is
highest in hierarchical scale, this was created for him and his link to eternity. The space between Nebamun and his family is also used to show the importance that he has them with him as he reigns over his afterlife. There is negative space between the daughter and the legs of Nebamun to emphasize how small the child is. The space between Hatshepsut and husband shows that she is second in importance in the story and she faces him, holding a bundle of papyrus plants.
Age was not depicted in Ancient Egyptian painting, especially in paintings of royals or other dignitaries (Stokstad, M., & Cothren, M. W., p. 54). In Nebamun’s painting, he stands unnaturally and his painting does not imply his age. The British Museum (2018) claims that he was much older than his age is rendered in the painting. The lack of differentiation in the painting of age in Egyptian art is why the scale and proportion is so important and relevant to analyzing the age and relationship of the family members in the Nebamun’s painting.
From the bottom of the painting, the water of the Nile River serves not only as the nurturer in the story but as a foundation, or anchor line to the portrait. Fish are just underneath the blue water, shown in a variety of color and texture, to express abundance. Just above the line of the water is the growth of the papyrus and the lotus, which the daughter and wife are seen plucking from the Earth and holding onto. The mother and child hold onto flowers, as well as the daughter holds Nebamun’s leg, which adds a common warmth and expression of relationship to life and fertility seen in Egyptian art.
Above the foundation of the water line, the boat casts a line that provides a footing or base for the daughter to sit underneath her father and mother as they stand above. This specific line casts a strong element of support as it serves as the core of the subject matter and activity represented in the painting. The line of the boat is the literal support mechanism for all four main subjects in the story, whereas the fish lay under the water line and the birds create symbolic lines of their own as they fly. The front, or bow of the ship is heading into the papyrus plants that create vertical lines progressing from the water line, yet the papyrus are slanted lines slightly to the right, which symbolizes the movement of the plant as the boat moves and pushes into the plant. The converging of the line of the boat and the lines of the plant create a collision that infers movement and implies that story of the boat going down river.
One would imagine that the cat that is leaping into the air to catch the bird would land on the boat line as well to remain out of the water. The concept of the cat jumping into the air after a bird creates an implied line straight into the air, where the cat will move up that line and back down onto the boat. Three birds fall in line with the cat as it hunts and catches them in her mouth, and front and tail claws. The birds above the papyrus plants are all following implied lines that are moving up and left which makes the birds appear to be fly off, in the direction that is away from the hunters. Nebamun catches a bird that falls in the line with his right arm and his left leg. This line begins with the head of the bird and traced down Nebamun’s arm, through the contour his torso, and directly meets his left knee and thigh as it continues down to the boat. Another line is created almost symmetrically by his left arm, holding his weapon, and his right leg, stepping forward. His body, with the intersection of the lines at his torso, creates an implied ‘X’. The significance of the line cast by his left arm and right leg that sets it apart from the other side of his body, is that serves as another anchor line. This line runs diagonally through the content of the image. A separation between the action in the scene and the value of family is created by this line. To the left of this line are the birds, the cat, and the hunting and most importantly the movement. Whereas to the right of the line created is his family, Hatshepsut embracing the plants that symbolize the union of Egypt and the daughter holding Nebamun’s leg for support and safety. The daughter also faces opposite her father and mother, but she sees her mother and faces the right side of this anchor. This could stand as a symbol for trust or respect for the mother.
The walls of the tomb where this piece was created were covered in plaster that was created by man to cover the walls of the tomb specifically for carving and painting. The plaster was made from chopped up straw that came from the surrounding fields and mixed with mud from the Nile River, which served as a binder for the medium. Plasterers would coat the walls of the tomb with the material in a thick layer and wait for the base to dry, creating a canvas. (Hooper, 2018). The pigments of color used in the works were drawn from natural resources that Egyptians found locally and brought in from other places. In Nebamun Hunting Birds in the Marshes, primary colors of red, blue, and yellow are present, as well as value of black and white. These colors are also known as Earth colors, because of their origin, and the process of using them to create a portrait on the plaster canvas is known as an additive process. Amy Calvert, historian from the Kahn Academy (2018) tells that, “White was often made from gypsum, black from carbon, reds and yellows from iron oxides, blue and green from azurite and malachite, and bright yellow (representing gold) from orpiment. These minerals were ground and then mixed with a plant or animal based glue to make a medium able to attach to the walls.” (para. 12). Secondary colors such as green, brown, and orange, were created from the mixtures and laying of primary colors in this piece.
The orange of Nebamun’s body is just as prominent as his proportion in the picture. He is contrasted in the space around him, and including his clothing, completely by the white of the walls and his cloth, and the black of his wig. He is simply dressed in complementary colors, and blue is added to his neck piece that brings attention to his torso which is facing frontal. Blue is also found in the water, the birds, and the papyrus plants in the picture. The same hue is used for
all of these elements, each with the same contrast of the negative, white space of the background. The white background, creating space between each bird, human, or plant, leaves emphasis on their contrasting images so that the more important features catch the eye faster.
Patterns appear in Egyptian art and they often are expressed or ordered in parallels or registers. An example of this is in Nebamun’s portrait, where the hieroglyphics a sit between repeating parallel lines and they tell the story of what is happening. These hieroglyphics translate to, “enjoying himself and seeing beauty” (Khan Acadmeny, 2018). Other patterns present themselves in this piece. The papyrus plants stand tall in an repeating pattern of 5 plants on the bottom row, and 4 plants peeking from behind the each opening. Each of the blooming heads of the plant appear to be symmetric and placed intricately in pattern. Another pattern that is present is the facing of Nebamun, Hatshepsut, and the implied flight direction of the flock of birds. This patterns represents the movement of the hunt and is only broken by the innocence of his daughter facing the opposing direction and one egret bird perched upon the papyrus plant that appears to be facing Nebamun.
Many other patterns appear in the repetition of color, line, and dots. This recurrence creates visual texture, such as the dots on the fish that perform a scale-like image and make the fish look actual. More parallel patterns are seen in the line that creates the stripe in the cat’s fur, and in the repetition of the pattern in Nebamun’s neck piece, as well as the distinction of the birds feathers and even Hatshepsut’s clothing (Hooper, 2008). The elements of color, line, size, and all work together to create the patterns that can be seen in this wall painting.
Nebamun Hunting Birds in the Marshes from 1350 BCE can be compared to another 18th Dynasty tomb. Ramose's Brother May and His Wife Werener is a limestone relief found from the tomb of Ramose, also in Thebes, in 1375-1365 BCE (Stokstad, M., & Cothren, M. W., p. 70).
This piece was created around 25 years prior to Nebamun’s tomb, and the influences of the Egyptian art and culture are relevant for comparing the two works. The walls of Egyptian tombs were commonly decorated with colorful scenes, varieties of pictorial reliefs, and hieroglyphic passages. The artistic conventions and technique of the Egyptians during this time period are clear in both Nebamun’s piece as well as Ramose’s sculpting. Pictorial relief sculpture were a traditional Egyptian art that dominated other forms through the 18th Dynasty. Ramose's Brother May and His Wife Werener is known as a raised relief, where the images are raised from their surface. The carving, known as a subtractive process, of a dependent picture into a wall creates a three dimensional effect that can be seen on a flat surface (p. 70).
Similar to Nebamun, Ramose is shown with his family in the carving- his wife, Merytptah, brother May and sister-in-law Werener. Another similarity between the relief and the painting is that age is not represented in the art. In Ramose’s relief, both couples appear to be depicted in the same age, though they represent two generations (p, 70), The registers, repetition of line, and pattern of the hieroglyphics in Ramose’s are similar to that of Nebamun’s piece. This is especially similar because the scripture sits about the pictures themselves to annotate the story. Just as Nebamun and his family float upon the anchor lines of the water and the boat, Ramose and company have seats that they appear to be sitting on that create an anchor line for their portrait. This is significant because nothing of importance sits below this anchor line.
There are differences between the two tomb murals that are more obvious due to their nature, such as the additive or subtractive process and addition of color. Painting is an additive process that typically is reliant on line and color to create an effect, whereas relief sculpting is subtractive and the outcome relies more on light and shadow. They are the same in that relief sculptures are also commonly painted afterward, but not Ramose’s Brother May and His Wife Werener. There are two differences between Ramose's Brother May and His Wife Werener and Nebamun Hunting Birds in the Marshes that are most distinguishing between the pieces. Ramose, Merytptah, May, and Werener are all displayed in the same proportion. Instead of Ramose being dominant, as Nebamun was with his family, each of the apparent characters in the relief are shown as equal. Another difference is that there is no negative space between the four characters, May and Werener appear to be embracing one another which resembles tradition and eternal love, whereas Nebamun and Hatshepsut are apart.
The artistic conventions and techniques shaped that style of 18th century Egyptian art. Through the years, as we have seen with two different pieces, the content and development of burial ground and tomb walls were celebrated in many similar ways as well as a variety. Nebamun Hunting Birds in the Marshes and Ramose’s Brother May and His Wife behold many similarities in their stylistic conventions and intentions. The bulk of their differences are in their design but the similarities ring through in the content and overall the design and activation of the Egyptian human through line, color, space, and pattern.
Works Cited:
Calvert, Amy. (2018). Materials and techniques. Kahn Academy. Retrieved May 21, 2018 from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/beginners-guide-egypt/a/egyptian-art
Hooper, M. (2008). An egyptian tomb: the tomb of Nebamun. FireFly Books. Retrieved May 20, 2018 from https://www.fireflybooks.com/index.php/catalogue/children-s-books/product/9619-an-egyptian-tomb-the-tomb-of-nebamun
(2012). Nebamun hunting in the marshes. The Ancient History Encyclopedia. Retrieved March 20, 2018 from https://www.ancient.eu/image/503/
(2018). Painting from the tomb-chapel of Nebamun. Kahn Academy. Retrieved March 20, 2018 from https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/new-kingdom/a/paintings-from-the-tomb-chapel-of-nebamun
Nebamun goes hunting. The British Museum. Retrieved March 20, 2018 from http://www.britishmuseum.org/pdf/british_museum_nebamun_pack1.pdf
Stokstad, M., & Cothren, M. W. (2018). Art history. Upper Saddle River: Pearson.
