عنوان المقالة:العلاقة المكانية والزمانية فى الفن المصرى القديم و الجمع بين الأزمنة والأمكنة المختلفة فى حيز واحد Spatial and temporal relationship in ancient Egyptian art The combination of different times and places in one space
لم يتقيد الفن المصرى القديم بالعلاقة المكانية أو الزمنية بين أجزاء المنظر الواحد، فقد كان يعمد إلى تنظيمه وتمثيلها بحيث يستقل كل منها عن غيره بقدر الإمكان،
الملخص الانجليزي
Ancient Egyptian art was not restricted to the spatial or temporal relationship
between the parts of a single scene. Of them in a row without being joined by a
link of time or place, so he photographed groups of shapes with different
angles, proportions and dimensions from each other, each homogeneous group
of which has its own field, or a place and time that differs from the others, and
sometimes it can have a different subject. - The cemetery of Sin Najm - Deir alMadina - Thebes, which represents the fields of Ayaru or the fields of bliss
from the cemetery of "Sin Najm", and the whole view represents the sky and
life, and in this place the dead lives with the gods and does some agricultural
work that he performed in his life. It represents the fields of Ayaru or the fields
of bliss from the cemetery of "Sen Star", and the whole view represents the sky
and life, and in this place the dead lives with the gods and does some
agricultural work that he performed in his life. The painting is divided into four
horizontal views: - The top view: we see "a tooth" A star and his wife from
behind him praying to some gods, and they all sat on a mat in the form of a sign
of justice, - Behind the gods, Rahotep, one of the sons of the deceased, sat on a
boat swimming in the ocean of heaven. - The second scene: "Star Tooth" and
his wife are shown collecting wheat fields. - In the third scene: “A star tooth”
and his wife uproot the book plant, then he appears while he is plowing the
land, and behind him is his wife scattering the seeds in the ground. - In the
fourth scene: we see dom trees and palm trees on the edge of a canal, as well as
other types of plants interspersed with flying moths. This painting is the best
example to illustrate the temporal and spatial relationship in ancient Egyptian
art, where the artist was able to show us the different stages in the life of the
deceased, and list each of these stages on a separate level to confirm them. To
show here the phenomenon of combining more than one time and a different
place in one space, which was a feature of ancient Egyptian photography, which
was produced by other characteristics of this art. The image does not add
anything to what the artist wants to express, because the ancient Egyptian artist
relied on the image printed in his mind, not the visual images. Do not calculate
the distance or proximity, and the resulting difference in volumes and
surfaces.This is why the Egyptian style of photography was characterized by
flatness, worse in the lack of solidification of individual shapes, or in treating
the space of the image as a whole by being far from representing the realistic
depth as seen by the eye, and this helped the artist not to be restricted to a single
or fixed point of view for the imaging as a whole. In order for the artist to
express the shapes and blocks by drawing or photographing them in only two
dimensions and not in three dimensions, “the artist committed himself to
expressing the shapes according to their reality or their real mentally known
appearance, and not according to what they look like at the moment of seeing
them, which is of course a fleeting moment” that corresponds With his
principles and beliefs in the infinite and the absolute, the artist wanted to paint
as much as he could in a renewed surface, and therefore he would choose what
he believed to be necessary and useful, and give up everything that was not
necessary for him. Never, and not according to what these parts look visibly in
the middle of the other parts necessary to define the scene, and this combination
of parts or particles is in fact a complete and accurate description of these
particles and the parts that make up the view to be expressed
أ.د/عصام محمد محفوظ | Prof.Dr.Essam Mohamed Mahfouz | 21472