C. IEarly Dynastic Period (3100–2685 BC) The
Early Dynastic Period of Egypt immediately follows the unification of
Upper and Lower Egypt, c. 3100 BC is generally taken to include the
First and
Second Dynasties, lasting from the end of the Naqada III archaeological period until about 2686 BC, or the beginning of the
Old Kingdom. Narmer Palette.jpg|Both sides of the
Narmer Palette; c. 3100 BC;
greywacke; height: 63 cm; from
Hierakonpolis (Egypt);
Egyptian Museum (
Cairo) File:MacGregor_Plate_(with_background).jpg|
Tag depicting king Den; c. 3000 BC; ivory; 4.5 × 5.3 cm; from
Abydos (Egypt);
British Museum (London) Stela of Raneb MET DP259528.jpg|Stela of
Raneb; c. 2880 BC; granite; height: 1 m, width: 41 cm;
Metropolitan Museum of Art (New York City) Child's bracelet MET 01.4.2 01-20-01 (cropped).jpg|Bracelet; c. 2650 BC; gold; diameter: 6 cm; Metropolitan Museum of Art File:Limestone head of a king. Thought by Petrie to be Narmer. Bought by Petrie in Cairo, Egypt. 1st Dynasty. The Petrie Museum of Egyptian Archaeology, London.jpg|
Limestone head of an early Egyptian king,
The Petrie Museum. Modern scholars have considered the stone bust to depict an
Early Dynastic or
Old Kingdom pharaoh.
Old Kingdom (2686–2181 BC) , likely daughter of
Khufu, from her Giza tomb (2590-2565 BC). Louvre Museum E 15591. The
Old Kingdom of Egypt is the period spanning c. 2686–2181 BC. It is also known as the "Age of the Pyramids" or the "Age of the Pyramid Builders", as it encompasses the reigns of the great pyramid builders of the
Fourth Dynasty. King
Sneferu perfected the art of
pyramid-building and the
pyramids of Giza were constructed under the kings
Khufu,
Khafre and
Menkaure.
Egypt attained its first sustained peak of civilization, the first of three so-called "Kingdom"
periods (followed by the
Middle Kingdom and
New Kingdom) which mark the high points of civilization in the lower
Nile Valley. File:Statue of Khufu in the Cairo Egyptian Museum.jpg|Statue of Pharaoh
Khufu/Cheops,
Cairo Museum File:Saqqara BW 5.jpg|The
Pyramid of Djoser at
Saqqara, 2667–2648 BC, by
Imhotep, the most famous
step pyramid of Egypt File:Menkaura.jpg|Statue of
Menkaure with
Hathor and
Cynopolis; 2551–2523 BC;
schist; height: 95.5 cm;
Egyptian Museum (Cairo). Demonstrates a group statue with Old Kingdom features and proportions. File:Ägyptisches Museum Kairo 2016-03-29 Rahotep Nofret 01.jpg|Statues of Prince
Rahotep and
Nofret, circa 2613-2494 BC,
Egyptian museum at
Cairo File:Scribe accroupi Saqquara Louvre E3023-01b.jpg|
The Seated Scribe at
Louvre Museum File:Seated portrait group of Dersenedj and his wife Nofretka from the Old Kingdom 01.jpg|Seated portrait group of Dersenedj and his wife Nofretka; c. 2400 BC; rose granite; Egyptian Museum of Berlin
Middle Kingdom (c. 2055–1650 BC) The
Middle Kingdom of Egypt ( "the Period of Reunification") is marked by political division known as the
First Intermediate Period. The Middle Kingdom lasted from around 2050 BC to around 1710 BC, from the reunification of Egypt under the reign of
Mentuhotep II of the
Eleventh Dynasty to the end of the
Twelfth Dynasty. The Eleventh Dynasty ruled from
Thebes and the Twelfth Dynasty ruled from
el-Lisht. During the Middle Kingdom period,
Osiris became the most important deity in
popular religion. The Middle Kingdom was followed by the
Second Intermediate Period of Egypt, another period of division that involved foreign invasions of the country by the
Hyksos of West Asia. After the reunification of Egypt in the Middle Kingdom, the kings of the Eleventh and Twelfth Dynasties were able to return their focus to art. In the Eleventh Dynasty, the king's monuments were made in a style influenced by the Memphite models of the Fifth and early Sixth Dynasties and the pre-unification Theban relief style all but disappeared. These changes had an ideological purpose, as the Eleventh Dynasty kings were establishing a centralized state, and returning to the political ideals of the Old Kingdom. In the early Twelfth Dynasty, the artwork had a uniformity of style due to the influence of the royal workshops. It was at this point that the quality of artistic production for the elite members of society reached a high point that was never surpassed, although it was equaled during other periods. Egypt's prosperity in the late Twelfth Dynasty was reflected in the quality of the materials used for royal and private monuments. File:Ägyptisches Museum Kairo 2016-03-29 Mentuhotep 02.jpg|An
Osiride statue of the first pharaoh of the Middle Kingdom,
Mentuhotep II; 2061–2010 BC; painted
sandstone; 138 × 47 cm;
Egyptian Museum (Cairo) File:Portrait head of an Egyptian from Thebes.jpg|Portrait head of an Egyptian from
Thebes; circa 2000 BC; granite;
Egyptian Museum of Berlin (Germany) File:Egypt, Middle Kingdom, late Dynasty 12 - Scarab - 1914.748 - Cleveland Museum of Art.jpg|Scarab; c. 1980 BC; gold; overall: 1.1 cm;
Cleveland Museum of Art (
Cleveland,
Ohio, US) File:Egypt, Meir, Middle Kingdom, mid-Dynasty 12, reign of Amenemhat II to Sesos - Coffin of Senbi - 1914.716 - Cleveland Museum of Art.tif|Coffin of Senbi; 1918–1859 BC; gessoed and painted cedar; overall: 70 x 55 cm; Cleveland Museum of Art File:Jewelry chest of Sithathoryunet MET DP330328.jpg|Jewelry chest of Sithathoryunet; 1887–1813 BC; ebony, ivory, gold, carnelian, blue faience and silver; height: 36.7 cm; Metropolitan Museum of Art File:Mirror of the Chief of the Southern Tens Reniseneb MET 26.7.1351 EGDP012746.jpg|Mirror with a papyrus-shaped handle; 1810–1700 BC; unalloyed copper, gold and ebony; 22.3 × 11.3 × 2.5 cm; Metropolitan Museum of Art File:GuardianStatueofAmenemhmatII.jpg|A guardian statue which reflects the facial features of the reigning king, probably
Amenemhat I or
Senwosret I, and which functioned as a divine guardian for the
imiut. Made of cedar wood and plaster 1919–1885 BC File:Relief from the Chapel of the Overseer of the Troops Sehetepibre MET DP350014.jpg|Relief from the chapel of the overseer of the troops Sehetepibre; 1802–1640 BC; painted limestone; 30.5 × 42.5 cm; Metropolitan Museum of Art File:Lintel of Amenemhat I and Deities MET DP322051.jpg|
Lintel of
Amenemhat I and deities; 1981–1952 BC; painted limestone; 36.8 × 172 cm;
Metropolitan Museum of Art (New York City) File:Procession of the Aamu, Tomb of Khnumhotep II (composite).jpg|A group of West Asiatic peoples (possibly
Canaanites and precursors of the future
Hyksos) depicted entering Egypt circa 1900 BC. From the tomb of a 12th dynasty official
Khnumhotep II.
Second Intermediate Period (c. 1650–1550 BC) The
Hyksos, a dynasty of rulers originating from the
Levant, do not appear to have produced any court art, instead appropriating monuments from earlier dynasties by writing their names on them. Many of these are inscribed with the name of King
Khyan. A large palace at
Avaris has been uncovered, built in the Levantine rather than the Egyptian style, most likely by Khyan. King
Apepi is known to have patronized Egyptian scribal culture, commissioning the copying of the
Rhind Mathematical Papyrus. The stories preserved in the
Westcar Papyrus may also date from his reign. The so-called "
Hyksos sphinxes" or "Tanite sphinxes" are a group of royal sphinxes depicting the earlier Pharaoh
Amenemhat III (Twelfth Dynasty) with some unusual traits compared to conventional statuary, for example prominent cheekbones and the thick mane of a lion, instead of the traditional
nemes headcloth. The name "Hyksos sphinxes" was given due to the fact that these were later reinscribed by several of the Hyksos kings, and were initially thought to represent the Hyksos kings themselves. Nineteenth-century scholars attempted to use the statues' features to assign a racial origin to the Hyksos. These sphinxes were seized by the Hyksos from cities of the
Middle Kingdom and then transported to their capital Avaris where they were reinscribed with the names of their new owners and adorned their palace. Seven of those sphinxes are known, all from
Tanis, and now mostly located in the
Cairo Museum.
Other statues of Amenehat III were found in Tanis and are associated with the Hyksos in the same manner. File:Asiatic official Munich (retouched).jpg|An official wearing the "mushroom-headed" hairstyle also seen in contemporary paintings of Western Asiatic foreigners such as in the tomb of
Khnumhotep II, at
Beni Hasan. Excavated in
Avaris, the Hyksos capital.
Staatliche Sammlung für Ägyptische Kunst. File:Khyan.jpg|Lion inscribed with the name of the Hyksos ruler
Khyan, found in
Baghdad, suggesting
relations with Babylon. The prenomen of Khyan and epithet appear on the breast.
British Museum, EA 987. File:Hyksos dagger handle.jpg|
Electrum dagger handle of a soldier of Hyksos Pharaoh
Apepi, illustrating the soldier hunting with a short bow and sword. Inscriptions: "The perfect god, the lord of the two lands, Nebkhepeshre
Apepi" and "Follower of his lord Nehemen", found at a burial at
Saqqara. Now at the
Luxor Museum. File:"Tell el-Yahudiya" Vase in the Shape of a Duck MET 23.3.40 left.jpg|An example of Egyptian
Tell el-Yahudiyeh Ware, a Levantine-influenced style.
New Kingdom (c. 1550–1069 BC) The
New Kingdom, also referred to as the "Egyptian Empire", is the period between the 16th and 11th centuries BC, covering the
18th,
19th, and
20th dynasties of Egypt. The New Kingdom followed the
Second Intermediate Period and was succeeded by the
Third Intermediate Period. It was
Egypt's most prosperous time and marked the peak of its power. This tremendous wealth can be attributed to the centralization of bureaucratic power and many successful military campaigns which opened trade routes. With the expansion of the Egyptian Empire, Kings gained access to important commodities such as cedar from Lebanon and luxury materials such as
lapis lazuli and
turquoise. The artwork produced during the New Kingdom falls into three broad periods: Pre-Amarna, Amarna, and
Ramesside. Although stylistic changes as a result of shifts in power and variation of religious ideals occurred, the statuary and relief work throughout the New Kingdom continued to embody the main principles of Egyptian art: frontality and axiality, hierarchy of scale, and composite composition.
Pre-Amarna The Pre-Amarna period, the beginning of the eighteenth dynasty of the New Kingdom, was marked by the growing power of Egypt as an expansive empire. The artwork reflects a combination of Middle Kingdom techniques and subjects with the newly accessed materials and styles of foreign lands. A large portion of the art and architecture of the Pre-Amarna period was produced by the female king Hatshepshut, who led a widespread building campaign to all gods during her reign from 1473 to 1458 BC. She made significant additions to the temple at
Karnak, undertook the construction of an extensive mortuary temple at Deir el-Bahri, and produced a prolific amount of statuary and relief work in hard stone. The extent of these building projects was made possible by the centralization of power in Thebes and reopening of trade routes by previous New Kingdom ruler Ahmose I. Hatshepsut's elaborate mortuary temple at Deir el-Bahri provides many well-preserved examples of the artwork produced during the Pre-Amarna period. The massive three-level, colonnaded temple was built into the cliffs of Thebes and adorned with extensive painted relief. Subjects of these reliefs ranged from traditional funerary images and legitimization of Hatshepsut as the divine ruler of Egypt to battle and expedition scenes in foreign lands. The temple also housed numerous statues of the female king and gods, particularly Amun-ra, some of which were colossal in scale. The artwork from Hatshepshut's reign is trademarked by the re-integration of Northern culture and style as a result of the reunification of Egypt. Thutmoses III, the predecessor to Hatshepsut, also commissioned vast amounts of large-scale artwork and by his death Egypt was the most powerful empire in the world.
Amarna art (c. 1350 BC) ''; 1352–1336 BC; limestone, plaster & paint; height: 48 cm; from
Amarna (Egypt);
Egyptian Museum of Berlin (Germany) Amarna art is named for the extensive archeological site at Tel el-
Amarna, where Pharaoh
Akhenaten moved the capital in the late
Eighteenth Dynasty. This period, and the years leading up to it, constitute the most drastic interruption in the style of Egyptian art in the Old, Middle, and New Kingdoms as a result of the rising prominence of the New Solar Theology and the eventual shift towards
Atenism under Akhenaten.
Amarna art is characterized by a sense of movement and a "subjective and sensual perception" of reality as it appeared in the world. Scenes often include overlapping figures creating the sensation of a crowd, which was less common in earlier times. The artwork produced under Akhenaten was a reflection of the dramatic changes in culture, style, and religion that occurred under Akhenaten's rule. Sometimes called the New Solar Theology, the
new religion was a
monotheistic worship of the sun, the Aten. Akhenaten emphasized himself as the "co-regent", along with the Aten, as well as the mouthpiece of the Aten himself. Since the sun disk was worshiped as the ultimate life-giving power in this new theology, anything the sun's rays touched was blessed by this force. As a result, sacrifices and worship were likely conducted in open courtyards, and the
sunken relief technique, which works best for outdoor carvings, was also used for indoor works.
Portrayal of the human body shifted drastically under the reign of Akhenaten. For instance, many depictions of Akhenaten's body give him distinctly feminine qualities, such as large hips, prominent breasts, and a larger stomach and thighs. Facial representations of Akhenaten, such as in the sandstone
Statue of Akhenaten, display him with an elongated chin, full lips, and hollow cheeks. These stylistic features extended past representations of Akhenaten and were further employed in the depiction of all figures of the royal family, as observed in the Portrait of
Meritaten and Fragment of a queen's face. This is a divergence from the earlier Egyptian art, which emphasized idealized youth and masculinity for male figures. A notable innovation from the reign of Akhenaten was the religious elevation of the royal family, including Akhenaten's wife,
Nefertiti, and their three daughters. While earlier periods of Egyptian art depicted the king as the primary link between humanity and the gods, the Amarna period extended this power to those of the royal family. Not many buildings from this period have survived, partially as they were constructed with standard-sized blocks, known as talatat, which were very easy to remove and reuse. Temples in Amarna, following the trend, did not follow traditional Egyptian customs and were open, without ceilings, and had no closing doors. In the generations after Akhenaten's death, artists reverted to the traditional Egyptian styles of earlier periods. There were still traces of this period's style in later art, but in most respects, Egyptian art, like Egyptian religion, resumed its usual characteristics as though the period had never happened. Amarna itself was abandoned and considerable effort was undertaken to deface monuments from the reign, including disassembling buildings and reusing the blocks with their decoration facing inwards, as has recently been discovered in one later building. The last King of the Eighteenth Dynasty,
Horemheb, sought to
eliminate the influence of Amarna art and culture and reinstate the tradition powerful of the cult of Amun. Relief depicting Akhenaton and Nefertiti with three of their daughters under the rays of Aton 01 (cropped).jpg|
Relief of the royal family:
Akhenaten,
Nefertiti and the three daughters; 1352–1336 BC; painted
limestone; 25 × 20 cm;
Egyptian Museum of Berlin (Germany) Princess of Akhenaton family-E 14715-IMG 0319-gradient.jpg|Portrait of
Meritaten; 1351–1332 BC; painted limestone; height: 15.4 cm;
Louvre Akhenaton-E 27112-IMG 4198-gradient.jpg|Statue of
Akhenaten; c. 1350 BC; painted sandstone; 1.3 × 0.8 × 0.6 m; Louvre Talatat block with relief showing Nefertiti at prayer from the temple of Aton at Karnak (cropped).jpg|
Talatat block with relief showing Nefertiti at prayer; circa 1350 BC; painted sandstone; height: 23.4 cm; from
Karnak; Egyptian Museum of Berlin Talatat block with relief showing Akhenaton at prayer from the temple of Aton at Karnak (cropped).jpg|Talatat block with Akhenaton standing to the right, raising his hands in prayer to the rays of the sun god
Aten; circa 1350 BC; painted sandstone; from Karnak; Egyptian Museum of Berlin Shabti of Akhenaten MET DT11688.jpg|
Shabti of Akhenaten; 1353–1336 BC; faience; height: 11 cm, width: 7.6 cm, depth: 5.2 cm;
Metropolitan Museum of Art (New York City) Fragment of a Queen's Face MET DP355835.jpg|Fragment of a queen's face; 1353–1336 BC; yellow
jasper; height: 13 cm, width: 12.5 cm, depth: 12.5 cm; Metropolitan Museum of Art Cosmetic Dish in the Shape of a Trussed Duck MET 40.2.2ab back.jpg|Cosmetic dish in the shape of a trussed duck; 1353–1327 BC; hippopotamus ivory (tinted); duck (left), length: 9.5 cm, width: 4.6 cm; cover (right), length: 7.3 cm, width: 4 cm; Metropolitan Museum of Art
Ramesside Period (c.1209-1077 BC) (ruled 1129–1111 BC), from his tomb
KV6.
20th Dynasty. With a concerted effort from Horemheb, the last King of Dynasty Eighteen, to eradicate all Amarna art and influence, the style of the art and architecture of the Empire transitioned into the Ramesside Period for the remainder of the New Kingdom (
Nineteen and
Twentieth Dynasties). After an early period of fracturation, the country was firmly reunited by the
Twenty-second Dynasty founded by
Shoshenq I in 945 BC (or 943 BC), who descended from
Meshwesh immigrants, originally from
Ancient Libya. The next period of the
Twenty-fourth Dynasty saw the increasing influence of the
Nubian kingdom to the south took full advantage of this division and the ensuing political instability. Then around 732 BC,
Piye, marched north and defeated the combined might of several native Egyptian rulers: Peftjaubast, Osorkon IV of Tanis,
Iuput II of Leontopolis and
Tefnakht of Sais. He established the
Twenty-fifth Dynasty of "Black Pharaos" originating from Nubia. The Third Intermediate Period generally sees a return to archaic Egyptian styles, with particular reference to the art of the
Old and
Middle Kingdom. The art of the period essentially consists in traditional Egyptian styles, reintroduced for unknown reasons as early as
Shoshenq V or
Osorkon III, sometimes with the inclusion of some foreign characteristics, such as the particular iconography of the statues of the Nubian rulers of the
Twenty-fifth Dynasty. File:Taharqa offering wine vases to Hemen-E 25276-IMG 0506-gradient.jpg|
Taharqa offering wine jars to Falcon-god
Hemen; 522–486 BC;
greywacke; height: 2.46 m;
National Museum of Iran (
Teheran) In 525 BC, the political state of Egypt was taken over by the Persians, almost a century and a half into Egypt's Late Period. By 404 BC, the Persians were expelled from Egypt, starting a short period of independence. These 60 years of Egyptian rule were marked by an abundance of usurpers and short reigns. The Egyptians were then reoccupied by the Achaemenids until 332 BC with the arrival of
Alexander the Great. Sources state that the Egyptians were cheering when Alexander entered the capital since he drove out the immensely disliked Persians. The Late Period is marked with the death of Alexander the Great and the start of the
Ptolemaic dynasty. Although this period marks political turbulence and immense change for Egypt, its art and culture continued to flourish. This can be seen in Egyptian temples starting with the
Thirtieth Dynasty, the fifth dynasty in the Late Period, and extending into the Ptolemaic era. These temples ranged from the Delta to the island of
Philae. Composite Papyrus Capital MET 10.177.2 EGDP018080.jpg|Composite papyrus capital; 380–343 BC; painted sandstone; height: 126 cm;
Metropolitan Museum of Art (New York City) Magical stela or cippus of Horus MET DP112603.jpg|Magical stela or cippus of
Horus; 332–280 BC; chlorite schist; height: 20.5 cm; Metropolitan Museum of Art File:HibisGate3Dareios1AmunRaKamutef.jpg|Relief showing
Darius I offering lettuces to
Amun, in the
Temple of Hibis (
Kharga Oasis, Egypt)
Ptolemaic Period (305–30 BC) . A votive inscription dedicated by a
Greek called Onnophris that depicts a male
pharaoh presenting offerings to the goddess
Isis, but honours in its text a queen Cleopatra (probably
Cleopatra VII). Discoveries made since the end of the 19th century surrounding the (now submerged) ancient Egyptian city of
Heracleion at
Alexandria include a 4th century BC, unusually sensual, detailed and feministic (as opposed to deified) depiction of
Isis, marking a combination of Egyptian and Hellenistic forms beginning around the time of Egypt's conquest by
Alexander the Great in 332–331 BC. However, this was atypical of Ptolemaic sculpture, which generally avoided mixing Egyptian styles with the
Hellenistic style used in the court art of the
Ptolemaic dynasty, while temples in the rest of the country continued using late versions of traditional Egyptian formulae. Scholars have proposed an "Alexandrian style" in Hellenistic sculpture, but there is in fact little to connect it with Alexandria.
Marble was extensively used in court art, although it all had to be imported and use was made of various marble-saving techniques, such as using a number of pieces attached with
stucco; a head might have the beard, the back of the head and hair in separate pieces. In contrast to the art of other
Hellenistic kingdoms, Ptolemaic royal portraits are generalized and idealized, with little concern for achieving an individual portrait, though coins allow some portrait sculpture to be identified as one of the fifteen King Ptolemys. Many later portraits have clearly had the face reworked to show a later king. One Egyptian trait was to give much greater prominence to the queens than other successor dynasties to Alexander, with the royal couple often shown as a pair. This predated the 2nd century, when a series of queens exercised real power. In the 2nd century, Egyptian temple sculptures began to reuse court models in their faces, and sculptures of a priest often used a Hellenistic style to achieve individually distinctive portrait heads. Many small statuettes were produced, with the most common types being Alexander, a generalized "King Ptolemy", and a naked
Aphrodite. Pottery figurines included grotesques and fashionable ladies of the
Tanagra figurine style. Erotic groups featured absurdly large phalli. Some fittings for wooden interiors include very delicately patterned polychrome falcons in faience. File:Ptolemy XII making offerings to Egyptian Gods, in the Temple of Hathor, Dendera, Egypt.jpg|
Ptolemy XII making offerings to Egyptian Gods, in the Temple of Hathor, 54 BC,
Dendera, Egypt Clevelandart 1914.666.a.jpg|Double-sided votive relief; c. 305 BC; limestone; 8.3 × 6.5 × 1.4 cm;
Cleveland Museum of Art (
Cleveland,
Ohio, US) Raet-Tawy-E 12923-IMG 8086-black.jpg|Statue of the goddess
Raet-Tawy; 332–30 BC; limestone; 46 × 13.7 × 23.7 cm; Louvre Ibis Coffin, 305-30 B.C.E., 49.48.jpg|Ibis coffin; 305–30 BC; wood, silver, gold, and rock crystal; 38.2 × 20.2 × 55.8 cm;
Brooklyn Museum (New York City) Statue of a ptolemaic king-A 28-Louvre Museum (7463587350).jpg|Statue of a Ptolemaic king; 1st century BC;
basalt; height: 82 cm, width: 39.5 cm; Louvre
Roman Period (30 BC–619 AD) and a pitcher of water, although these attributes were added in a seventeenth century renovation. (ruled 98–117 AD) making offerings to Egyptian Gods, on the Roman
Mammisi at the
Dendera Temple complex, Egypt.The
Fayum mummy portraits are probably the most famous example of Egyptian art during the Roman period of Egypt. They were a type of naturalistic painted
portrait on wooden boards attached to
upper class mummies from
Roman Egypt. They belong to the tradition of
panel painting, one of the most highly regarded forms of art in the
Classical world. The Fayum portraits are the only large body of art from that tradition to have survived. Mummy portraits have been found across
Egypt, but are most common in the
Faiyum Basin, particularly from
Hawara (hence the common name) and the
Hadrianic
Roman city
Antinoopolis. "Faiyum portraits" is generally used as a stylistic, rather than a geographic, description. While painted
cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the time of the
Roman occupation of Egypt. The portraits date to the
Imperial Roman era, from the late 1st century BC or the early 1st century AD onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the
panel painting tradition of the classical world, which was continued into
Byzantine and Western traditions in the post-classical world, including the local tradition of
Coptic iconography in Egypt. File:Fayum-22.jpg|The
Fayum mummy portraits epitomize the meeting of Egyptian and Roman cultures. File:Mummy Mask of a Man, early 1st century C.E.,72.57.jpg|Mummy mask of a man; early 1st century AD; stucco, gilded and painted; 51.5 x 33 x 20 cm;
Brooklyn Museum (New York City) File:Portrait of a young woman in red MET 09.181.6 EGDP011294.jpg|Portrait of a young woman in red; c. 90–120 ;
encaustic painting on limewood with
gold leaf; height: ;
Metropolitan Museum of Art (New York City) File:Anubis, Anzio, Villa Pamphili, 1st-2nd century AD, Pario marble - Museo Gregoriano Egizio - Vatican Museums - DSC00818.jpg|Statue of Anubis; 100–138; marble; height: 1.5 m, width: 50 cm; from
Tivoli (
Rome);
Vatican Museums (
Vatican City) File:Horus as Emperor-AE E 7977-IMG 4864-cropped.jpg|
Horus as emperor; 2nd century; bronze; height: 26.5 cm;
Louvre File:Egyptian - Mummy Portrait of a Man - Walters 323.jpg|Mummy portrait of a man; late 1st century; encaustic painting on wood;
Walters Art Museum (
Baltimore,
Maryland, US) File:Isis suckling her baby Horus from Mata´na el-Asfun 09.jpg|Isis suckling her baby Horus (of whom only the left leg is preserved); 1st century AD; siltstone (basis: limestone); height: 33.9 cm; from
Mata´na el-Asfu;
Staatliche Sammlung für Ägyptische Kunst (
Munich, Germany) ==Characteristics==