Professor: Skani Luka
Haya Arafa 963493
Tutor: Michele Porcelluzzi
Analysis of Sculptures History and Theory of Architecture
https://www.danaestratou.com/web/exhibitions/desert-breath-egypt-1997/http://www.fubiz.net/2014/02/24/monumental-land-art-installation-in-the-sahara/
MONUMENTAL LAND ART INSTALLATION
Year: Theme:1997Place
The space where the infinity of the sea coexisted with the infinity of the desert. The artwork is a part of a geographical context addressing the desert as a state of mind as a Pace and as a natural formation of the sand as a Material. Desert Breath expands in an area of 100.00 m2. Its construction consists of displacement of 8.000 m3 of sand formed so as to create precise positive and negative conical volumes. Geometry and algorithm plays an important role in the composition. The illusion of the conical volumes that are created from two interlocking spirals that move out from the center, shifting from scale and going larger with a phase difference of 180 degrees in the same direction rotation.The mathematical precision creates a radial sense of wonder. The art work functions in two different viewpoints and creates different experi ences with the visitors. From an aerial view as a visual image, it happens when you distance yourself or climb a mountain to obtain an aerial view of the work as the shape of the spiral reveal itself. Secondly, the relationship of the visitors and the sculpture walking the spiral pathway on the ground which gives a physical experience comprehending the relationship of the Human Scale and the desert. The center is a 30-meter diameter vessel formed of water where the immensity of the sea meets the immensity of the dessert acknowledging the concept of the desert breath coming out from the landscape.
DESERT BREATH 1997
Medium: Sand
Desert Location:BreathEgyptian desert, Gouna, Red Sea Coast
Created By: D.A.ST. Art team | Danae Stratou | Alexandra Stratou | Stella Constantinides
Mukhtar named his sculpture “Egypt Reawakening” or Egypt’s Renaissance as he wanted to manifest the cultural renaissance of enlightenment in in a monumental sculpture. The statue will always be an immortal work, one that stands out in Egypt’s history much as the pyramids do . It became a cultural landmark and an inspiration to poets and writers.
Egypt had known no sculptors at that time. He was the first artist to revive the greatness of the rich Ancient Egypt’s works of art and cultural identity in a modern frame of reference.
Sculpted in red granite, rising three metres high, and stretching four metres long, it depicts a typ ical Egyptian peasant woman standing tall and looking far into the future (Like in most of ancient Egypt art work, the role of women is always existing) Her right hand rests on the head of a rising proud sphinx, a symbol of Egypt’s roots and character again rising from obscurity. Both woman and sphinx look in the same direction, perhaps towards a new dawn, towards the rising sun, symbol of resurrection for the ancient Egyptians.
By: Mahmoud Mukhtar
In 2011 Egypt’s revolution, we can see a picture below of citizens gathering around the sculp ture. The question is: Is this sculpture itched to our minds to political ideologies artistically and politically? Can art works that linked to political ideologies be effective? Can all Egyptians, no matter their ideology, look to Nahdet Masr as a representation of expressions of national aspi rations and identity? Or is this exactly what Mukhtar had in mind when he unveiled his sculpture to the world? found in Mukhtar’s own words, he said, “that he wished to create a statue that combined all the dreams of Egypt and its civilization, blending the glorious past with the nation’s future aspirations. This is how the idea of Nahdet Masr was born.”
THE AWAKENING OF EGYPT RENAISSANCE SCULPTURE Courtesy25https://nomad4now.com/2012/12/09/nahdet-masr-egypts-awakening/https://en.wataninet.com/culture/heritage/egypts-reawakening/24492/PiastersBankNote,CentralBankofEgypt,6December1978.ofNadeenEastNov30,2012Courtsey of Nomad4now.com
Theme:1928
Medium: Red Granite
In 1919 the year of revolution in Egypt, Mukhtar who was 28 years was still in Paris and there he participated with the Egyptian students in forming a movement to support the Egyptian revolu tion. Mukhtar was influenced by the events at that time and decided to contribute through his art work. He saw that the revolution is a vivid expression of the awakening of modernization and nationalism in the beginning of the 20th century.
“Nahdet Misr” or Egypt’s Reawakening Egypt’s Renaissance Statue
Location: Giza, Egypt
Year:
Memory
Sculpture of Palm Leaves
By: Ahmed Askalany
Location: Cairo Egypt
Medium: Palm Leaves
STATUE OF PALM LEAVES
Theme:2008Texture
Working with the resources engrained within his culture and community. Many hundreds of years back, before the invention of paper, people used to write and draw on palm leaves. Strips of palm leaves are collected from different trees and then sorted on the ba sis of their similarity in appearance, color and texture. These are then dried and stitched together with a string.
Work shows an explicit connection with traditional materials and craft methods associat ed with the ancient cultures of Egypt. His sculptures are characterized by his native town and a preserved mummies like look. His art work here is an aesthetic form that place an emphasis on two directions volume and texture. Texture plays a very important role in his work as it reflects fragility and poetic sensitivity. His simple technique is similar to hair weaving using natural colored palm leaves. The work aims to captivate the essential ges tures and shapes of a humanity free from aggressiveness and a dark side. Strips of palm leaves are collected from different trees and then sorted on the basis of their similarity in appearance, color and texture ‘simplicity is my philosophy – to convey the idea directly to the viewer without going into detail.’ – Ahmed askalany Among other important exhibitions worldwide, Askalany repre sented Egypt at the 2009 Venice Biennale https://www.tabariartspace.com/artists/61-ahmed-askalany/biography/https://egymonuments.gov.eg/collections/statue-of-ka-aper-2/
PALM LEAVES SCULPTURE
Year:
The combination of Material is not usual but several other cases exist. As it was more common to use stone as it survives better. However the sculpture when it was discov ered was in a very good condition rather than wooden statues that probably distegrated through time
Medium: Wood; Eyes: Rock crystal, quartz, copper, black stone
Thehttps://egymonuments.gov.eg/collections/statue-of-ka-aper-2/Restoration,Treatment,ScientificExamination,andRe-treatment of an Egyptian Limestone Relief from the Tomb of Ka-aper
Statue of Kaaper as known as Sheikh El Balad Location: Cairo Egyptian Museum
Year: 2500 BCE
The statue is cited as a remarkable level of craftsmanship and realism that was achieved during the 5th Dynasty.
STATUE WOODENKAAPERSCULPTURE
Theme: Material
The statue depicts a round, peaceful face thanks to the eyes that distinguishes the stat ue, which were made using quartz in the eye ball, copper and rock crystal. The eyes also depicts imitation of eye makeup that was famous by that time. These details made the man look very authentic.
An Ancient Egyptian priest who lived in Egypt around 2500 BC. He is famous for his mar velous wooden statue and the level of realism which is represented and sculpted at that time is impressive.
The statue was made of sycamore wood of one piece of wood except the hands that are Anotherlinked/interlocked.elementof the realism is the movement of the statue Left leg is advanced moving straight along with the body that is overweight.
Discovered By: Auguste Mariette in Saqqara necropolis
Theme: Scale
Year: 1350 BCE
Medium: Lime Stone | Sandstone Relics
The Colossi of Memnon are two enormous statues
Questioning the scale and the relationship between the statues, location and place. The monu mental scale emphasizes the role of the sculptures acting as guardians to the temple of Amen hotep |||. The Colossi of Memnon was meant to protect the Pharaoh’s temple from evil. Even though after the temple was destroyed by a severe earthquake, the Colossi of Memnon remains standing strongly for thousands of years. It lasted more than 34 centuries without damage.
A A B C CDB
Two gigantic statues, seated on thrones, both effigies as tall as a six-story building (18m tall) and each weighing an estimated 720 tons (650,000 kg). The towering pair of figures originally stood guard at the temple’s main gate. These magnificent colossi, each cut from a single block of stone and weighing 1000 tonnes, sat at the eastern entrance to the funerary temple of Amenophis III, the largest on the west bank.
The relationship between the object & surrounding is monumental: The connection between the viewer and the observed object is based on a 360 degrees rotation al movement. Observing the 3Dimensional figure, every side of the monument gives us a different moment to see. First, when you have to see the complete figure from a further point of view then you get closer to see the details of the statue where you lose the relationship with the context and start having a relationship with the figure details. Then, you start observing the four sides and going through a panoramic field of view to see each side of the monument as each side has a completely different narrative. (Like in the illustration A,B & C)
Location: Luxor, Egypt. (Western bank of the Nile)
COLOSSI OF MEMNON TWO STATUES
https://www.atlasobscura.com/places/colossi-of-memnonhttps://www.wmf.org/project/mortuary-temple-amenhotep-iii
Scale is it a historical and cultural meaning?
