Introduction
This essay explores the distinct ways in which royalty and ordinary people were depicted in the art of ancient Egypt, focusing on visual representations in drawing, painting, and sculpture. Ancient Egyptian art was deeply symbolic, governed by strict conventions that reflected social hierarchy, religious beliefs, and cultural ideals. By comparing and contrasting specific examples from different periods, particularly the Old Kingdom and the New Kingdom, this essay aims to highlight key differences in artistic styles such as the use of canon, hieratic scale, and idealism versus naturalism. Three specific examples—two in 2D (painting and relief) and one in 3D (sculpture)—will be analyzed to demonstrate how these artistic conventions underscored the elevated status of royalty compared to commoners. The essay will avoid the Amarna period due to its unique and anomalous artistic style under Akhenaten, which diverges from traditional norms and may confuse the broader narrative of conventional representation. Instead, the focus will remain on more representative periods to ensure clarity and consistency.
Artistic Conventions and Social Hierarchy in Ancient Egypt
Ancient Egyptian art was not intended to capture realistic portrayals but rather to convey idealised and symbolic meanings. The canon of proportions, a set of guidelines dictating ideal body ratios, was meticulously applied to depict figures, particularly royalty, in a consistent and idealised manner. This canon ensured that royal figures appeared timeless and divine, reflecting their status as intermediaries between the gods and humanity (Robins, 1997). Hieratic scale, where the size of a figure indicated their importance, further reinforced this distinction, with kings and queens often depicted significantly larger than subordinates or commoners. Additionally, the use of composite view—showing figures with heads in profile and torsos in frontal view—created a sense of eternal stability, particularly for royalty, while ordinary individuals might occasionally deviate from such rigidity to suggest their lesser status (Wilkinson, 1994).
Idealism versus naturalism also played a critical role. Royal figures were often portrayed with idealised features—perfect symmetry, youthful vigour, and serene expressions—to signify their divine connection. In contrast, depictions of ordinary people, such as workers or servants, sometimes incorporated more naturalistic elements, including signs of physical labour or ageing, to reflect their earthly, mundane roles (Aldred, 1980). These conventions, rooted in religious and political ideology, consistently elevated royalty above the common populace in visual art across various periods, particularly the Old and New Kingdoms, which represent the height of traditional Egyptian artistic expression.
Comparison of 2D Representations: Royal and Common Depictions in Painting and Relief
In 2D art, the distinction between royalty and ordinary people is strikingly evident. A prime example of royal depiction is the wall painting from the Tomb of Nebamun, dating to the New Kingdom (c. 1350 BCE), now housed in the British Museum. Nebamun, a high-ranking scribe and thus part of the elite, is shown in a hunting scene in the marshes. Although not a pharaoh, his depiction adheres to royal conventions due to his elevated status: he is portrayed in composite view with idealised proportions, his body significantly larger than the accompanying figures of his family and servants (Parkinson, 2008). His serene expression and upright posture convey authority and timelessness, aligning with the idealised representation typically reserved for royalty or the elite.
In contrast, a relief from the Tomb of Mereruka at Saqqara, from the Old Kingdom (c. 2300 BCE), depicts ordinary workers engaged in agricultural tasks. These figures, often servants or farmers, are shown on a much smaller scale than the tomb owner, reflecting hieratic scale. Their bodies, while still adhering to the composite view, often display slight deviations such as hunched postures or signs of physical exertion, suggesting a more naturalistic approach (Kanawati, 2001). Unlike the idealised composure of Nebamun, these workers appear dynamic yet subordinate, their individuality suppressed to emphasise their role in serving the elite. Comparing these two 2D works highlights how scale and idealism were manipulated to elevate royal or elite figures while relegating commoners to secondary, functional roles.
Comparison of 3D Representations: Royal and Common Depictions in Sculpture
Turning to 3D art, sculpture further underscores the divergence in portrayal between royalty and ordinary individuals. A notable royal example is the statue of King Menkaure and his Queen, from the Old Kingdom (c. 2490–2472 BCE), discovered at Giza and now in the Museum of Fine Arts, Boston. This sculpture exemplifies the idealised portrayal of royalty: both figures stand rigidly frontal, their bodies perfectly proportioned according to the canon, with smooth, youthful features that deny any imperfection or ageing (Robins, 1997). The king’s forward stride and the queen’s supportive pose around him symbolically affirm their eternal authority and divine connection. The use of durable stone and the polished finish further elevate their status, rendering them as timeless beings.
In contrast, the statue of a seated scribe, also from the Old Kingdom (c. 2400 BCE), housed in the Louvre Museum, represents a non-royal figure, likely a mid-ranking official or worker. While still adhering to some artistic conventions, such as a frontal pose, the scribe’s portrayal includes naturalistic details absent in royal sculptures. His slightly sagging torso and the subtle rendering of flesh suggest a lived, human experience rather than divine perfection (Aldred, 1980). Furthermore, the scribe is smaller in scale compared to royal statues and often carved from less durable materials like limestone rather than granite, subtly reinforcing his lower status. Comparing these sculptures reveals how royal figures were idealised to project divinity and permanence, while non-royal individuals, even those of relative importance, were depicted with hints of naturalism that grounded them in the mortal realm.
Periodical Consistency and Rationale for Excluding Amarna
The choice of examples from the Old and New Kingdoms, rather than the Amarna Period (c. 1353–1336 BCE), is deliberate. The Amarna Period, under Akhenaten, introduced a radical departure from traditional artistic conventions, with elongated, androgynous depictions of royalty that contrasted sharply with the idealised, rigid forms of earlier periods (Wilkinson, 1994). Including Amarna art might obscure the broader patterns of royal versus common depiction, as its unique style does not align with the long-standing norms of Egyptian art. By focusing on the Old and New Kingdoms, this analysis reflects the more consistent and widely recognised conventions that shaped Egyptian visual culture for centuries, offering a clearer comparison of hierarchical representation.
Conclusion
In summary, depictions of royalty and ordinary people in ancient Egyptian art reveal profound differences rooted in social hierarchy and cultural ideology. Through the analysis of 2D works like the Tomb of Nebamun painting and the Tomb of Mereruka relief, as well as 3D sculptures such as the statue of King Menkaure and the seated scribe, it is evident that royalty were portrayed with idealised features, larger scale, and strict adherence to the canon to signify their divine status. In contrast, ordinary individuals were often rendered with naturalistic details and smaller proportions, reflecting their subordinate, earthly roles. These distinctions, consistent across the Old and New Kingdoms, highlight how art served as a tool to reinforce social order. Understanding these differences not only enriches our appreciation of Egyptian visual culture but also underscores the broader interplay between art and power in ancient societies. Future studies might explore how these conventions evolved across other periods or influenced neighbouring cultures, though such inquiries remain beyond the scope of this discussion.
References
- Aldred, C. (1980) Egyptian Art in the Days of the Pharaohs, 3100-320 BC. Thames & Hudson.
- Kanawati, N. (2001) The Tomb and Beyond: Burial Customs of the Egyptian Officials. Aris & Phillips.
- Parkinson, R. B. (2008) The Painted Tomb-Chapel of Nebamun. British Museum Press.
- Robins, G. (1997) The Art of Ancient Egypt. Harvard University Press.
- Wilkinson, R. H. (1994) Reading Egyptian Art: A Hieroglyphic Guide to Ancient Egyptian Painting and Sculpture. Thames & Hudson.
