Anthropomorphism In Ancient Egyptian Contexts
Anthropomorphic imagery is a way of depicting human traits or actions into animals, plants, or non living things. The earliest use of this imagery was known to be utilized in 1755, where in some instances artists represented God as a human in artwork. In another example 30, 000 years ago, hunters created sculptures of lion-headed human figures in relation to their culture and traditions. It is in our general nature to relate to an animal, similar to how we communicate and treat our pets. From the very beginning of time humans have attributed their emotions and behavioral traits to animals and even the wild, thus the term Anthropomorphism.
Anthropomorphic deities from ancient Egypt have been identified with human concepts such as love, war, fertility, beauty, power, and wisdom. Some of them even have human weakness such as greed, hatred jealousy and rage. The Egyptians have associated animals with various emotions and characteristics based on an animal physical appearance or way of living. If a lion was used for anthropomorphic means it would be to display pride because this human characteristics was associated with the lions due to its mannerisms in the wild.
The statue of Sobek was found at Amenemhat III's mortuary temple (which was connected to his pyramid at Hawara in the Faiyum), serving as a testament to this king's devotion to Sobek. Ashmolean Museum, Oxford. Sobek was the exaltation of crocodiles which were feared in a country so subject to the Nile Stream. Egyptians who worked or went on the Nile trusted that if they prayed to Sobek, he would shield them from being assaulted by crocodiles. He is related with the Nile crocodile or the West African crocodile and is represented to either as a crocodile or as a human with a crocodile. Sobek was the idealisation of crocodiles which were feared in a country so reliant on the Nile Stream. Initially tame crocodiles were worshiped as the earthly embodiment of Sobek himself, while in other places crocodiles were reviled, hunted and killed. In some versions of history Sobek began as an evil god who had to be gratified by the means of sacrifice, however his protective qualities and his strength were valued when they were used in defence of the Pharaoh and the people. He could protect the justified dead in the netherworld, restoring their sight and reviving their senses. Because of his ferocity, he was considered to be the patron of the army.
The general population of Ancient Egypt worshipped crocodiles while both cherishing and dreading them. They were a symbol of power, fertility and virility. As the Crocodile God, Sobek ensured the safety of the Egyptian armed force, the pharaohs, and the ancient Egyptian individuals. His quality and boldness enabled the Pharaoh to beat impediments and shielded him from dark and evil magic. Crocodiles are savage, courageous animals. Their wealth in the Nile mirrors their regenerative capacities. Sobek was consistently changed with how it was showcased over at the different homes of Egypt. Some carried paintings some carried sculptures. Sculptures in particular were created with the use the technique of sunk relief, where egyptians would create a background and then add more of the same material used to create a three dimensional effect as the sculpture would appear to be raised and is best viewed in sunlight for the outlines and forms to be emphasized by shadows. The distinctive pose of standing statues facing forward with one foot in front of the other was required for the balance and strength of the piece. The use of this singular pose was used early on in the history of Egyptian art and well into the Ptolemaic period, although seated statues were particularly common as well. Materials used in the creation of the sculpture came from the valley of the Nile, South of Edfou, waterfalls and even mountains of Egypt. Materials included limestone, sandstone, red granite and mud from the riverbanks.
Alessandro Gallo riffs on the human inclination to connect identity attributes to the activities and characteristics of animals. Endeavoring to accomplish as practical portrayal as could be expected under the circumstances, Gallo takes part in the inventive procedure by capturing a model from various points at first. The photos accepted fill in as the beginning stage for chiseling, while the visual references for heads he chooses from his own significant library of books about set of all animals. After effects of his sculptural undertakings are mutation of humans, averagely dressed and put in natural circumstances.
This artwork is an explanation of the true nature of what the rabbits are. While the reality their unusual nature is so obvious makes the watcher hesitant, yet constrained, to interface. This work of art reference the undeniable yet awkward connections between the human and creature universes. In an especially interesting way, Alessandro Gallo renders the absolute most present thematics, from forlornness, partition, fatigue to uniqueness, routine and lack of engagement. Mental conditions of the subjects are unmistakable through their creature angles, while the craftsman toys with general ideas of what certain creature images rely on.
Without disrespecting any of the species involved, Gallo succeeds in portraying both virtues and vices of his models, or of every man and woman, while delivering a completely singular artwork to the contemporary scene. Unconventionally classical approach merges with an almost sci-fi imagination in creation of what truly came out as an amusingly unsettling series of work.
In conclusion, this topic was chosen in relation to how close anthropomorphism is to my culture and tradition as in Hinduism we have over thirty three million deities associated with animals, nature and morphed together with human bodies vice versa. This was done for the same reason anthropomorphism was used in early Egypt, as people found comfort and means of worship in this anthropomorphic beings.
