Wednesday 18 December 2013

1920-1930's in Europe and Russia


The Russian civil war was between the red army and the white, both had propaganda however the success was varied between the sides. The red army was much more organised and had a strong clear message in their posters whereas the white army was disorganised and their support was more dispersed than the red army so the red's were able to reach more audience as they took control of influential cities and towns. 

El Lissitzky



Beat the Whites with the Red Wedge

El Lissitzky is the creator of the poster that was used as propaganda for the Red army in the Russian civil war between the Red and the White army. 


By the positioning of the shapes and the way the red wedge dominates the image and the position of it taking over the white circle it is possible to infer that El Lissitzky was creating a positive piece of propaganda supporting the Red army (Bolsheviks) 

The constructivist style that he has created this poster in uses geometric shapes to convey 

 " El Lissitsky was able to make express a feeling emotion or opinion by simply applying geometric shapes to his picture. "

http://utopiadystopiawwi.wordpress.com/constructivism/el-lissitzky/beat-the-whites-with-the-red-wedge/



Alexander Rodchenko 




Rodchenko was a Russian Constructavist who combined typography with photography and printing coloured blocks, to create photomontages, his most well known poster is an advertisement for books and this has been influential in many aspects as the album cover for Franz Ferdinand shows.



Saturday 7 December 2013

Impressionism and Art Nouveau



Box Brownie

One of the first produced box brownies


1900 - The first of the famous BROWNIE Cameras was introduced. It sold for $1 and used film that sold for 15 cents a roll. For the first time, the hobby of photography was within the financial reach of virtually everyone (Kodak)

It had a fixed focal length and only a single shutter speed however because it was available to everybody this camera was the birth of "snapshot" / candid style photography, which is still a genre today.

He marketed the cameras at young people, this is because he saw that the masses would be able purchase the camera at such a low cost and he would sell many rolls of film, as every household would be able to purchase a camera.

" The February 1900 Trade Circular lists a 6 exposure roll of transparent film at $0.15, paper-negative film at $0.10, and $0.40 for processing them! "


Eadweard Muybridge

He was looking at capturing movement in a series of images, this was started by a bet that when a horse runs at one point all four feet are lifted above the ground at once. He set up a row of motion sensored cameras and got a rider to run the horse infront of them, this is then presented as a series.

He continued working in this style of capturing movement using different subjects such as people and birds, one series he created shows a young child climbing off a chair.


Horse in Motion
" setting up a series of fifty cameras parallel to the race track. By connecting their electrically controlled shutters to trip wires lain across the track, he ensured each one automatically took its own picture as the horse sped by. " WildFilmHistory


Sources

http://www.kodak.com/ek/US/en/Our_Company/History_of_Kodak/Milestones_-_chronology/1878-1929.htm

http://www.brownie-camera.com/5.shtml

http://www.wildfilmhistory.org/person/180/Eadweard+Muybridge.html


Saturday 30 November 2013

Industrial Revolution and the 19th Century



Roger Fenton

The Valley of the Shadow of Death, 1855


" His photograph The Valley of the Shadow of Death, 1855,witnesses a past battle that has left nothing in its wake but a barren rocky wasteland and scattered cannon balls. " Icons of Photography The 19th Century (page 62)

He travelled in a wagon that was equipped with all of the photography equipment he needed.

He was the first official photographer to document the Crimean War, his work was to be published in Illustrated London News, in a book and also a gallery exhibition. He was sent to photograph by Prince Albert in response to the anti war reports by The Times.

He was keen to avoid photographing the dead or injured soldiers, instead photographed images like the one shown below and many of images show the aftermath or empty landscapes.

Photographs were taken with long exposures so there is no action shots of soldiers only posed images.

There are many theories surrounding The Valley of the Shadow of Death, many think that the cannonballs had been moved and placed, another theory is that this image was taken while the battle was ongoing.
Lieutenant-General Barnard and Officers,  Crimea, 1856

Roger Fenton's Van
Taken by Marcus Sparling, 1855

Matthew Brady

American Civil War, 1862

" America's finest portrait photographer and a visual reporter on the Civil war. And, like his work, it would seem as if his personality had been divided. " Icons of Photography The 19th Century (page 66)

Although many images are branded with his name many of them have been taken by different people that he has trained and asked to work for him, these include Timothy O'Sullivan and Alexander Gardner.

" Brady was a company, a brand name " Icons of Photography The 19th Century (page 66)

Timothy O'Sullivan

A Harvest of Death, Gettysburg, 1863


He worked for Matthew Brady photographing the Civil War, what he saw affected him as his style of work continued into photographing the baron landscapes and harsh cliffs.

Source

Icons of Photography The 19th Century (Prestel)
 - Freddy Langer
 - Timm Starl
 - Wilfried Wiegand





Wednesday 20 November 2013

17th and 18th Centuries - Vermeer



Vermeer


" It is too easy to enter into one of Vermeer's Pictures. It offers no barrier. It is completely unnecessary to be familiar with its iconography " Philippe Daudy, The XVII Century II (1968)


The Lacemaker



" The source of light is more diffused. The brighter light shines from the right of the picture, but the left is not in shadow " Philippe Daudy, The XVII Century II (1968)
The woman appears to be relaxed but it is clear that she is concentrating on her lacework. The work can be dated as one of Vermeer's later paintings by the style of the hair as this style became popular after the invasion of Louis XIV's troops in 1672.

The lighting in this painting is unusual because typically the light source is placed on the left this is because we are taught to read from right to left so that is the direction our eyes want to follow when 'reading' (viewing) paintings or photographs.
In this painting however the light source is coming from the right side and is not casting harsh shadows, the light does however reach the cushion on the far left of the image so that the whole image is lit but with emphasis on the light coming from the right.

Many people think a camera obscura has been used to create this canvas as the coloured threads in the foreground are slightly blurred and out of focus whereas the thread the woman is using appears sharp.
"By foreshortening and blurring the foreground objects, he gave this jewel-like canvas a striking sense of intimacy " Hans Kiningberger, The World of Vermeer (1967)

 The lighting in the painting shown above is similar to the lighting in this painting.

Vermeer
 Interior with a Woman Playing the Guitar

The young girl is also being lit from the right although a hint of what I think is a curtain appears in the edge of the framing making the light source a window. The shadows appear harsher than the previous image, this is shown in the folds of the dress and the woman's face.


" The folds of her dress are hard and boldly rendered instead of being crisp as in in Lady Standing at the Virginals " Christopher Wright, Vermeer (2005)

Her face is tilted away from the light source, I believe this has been done in order to greater show the detailing in the shadow on her face, if she was looking at Vermeer straight on then her whole face would be in the shadows.


Digital Studio

The Chiaroscuro style of lighting the subjects is still being used in modern studios today. The style of this work often creates dramatic high contrast works, because only one light is typically used with a reflector on the other side. More information here.

This image shows a young boy lit in this way by using one light on the right of the model then using a reflector to light the left side of his face.


The Vermeer Boy
by John Mee



17th and 18th Centuries - Rembrandt



" This marvellous artist is probably one of the greatest and most profoundly poetic painters of all time. " Baroque Painting II, Philippe Daudy (1968)

The Woman Bathing in a Stream 



The inspiration behind the model was Hendrikje Stoffels, a young woman who Rembrandt later made a common-law wife, she was a muse for some of his other works such as The Susanna and Bathsheba.

" One, Woman Bathing in a Stream, is the portrait of the real Hendrickje, with all the lightness and heaviness of love's emotion and lassitude : the other, Bathsheda, both more public and more secret, reveals still more of the Hendrickje who crowned Rembrandt's nights. " Baroque Painting II, Philippe Daudy (1968) page 27

This piece of work was not commissioned by anybody but was just for the artist, it was however bought in 1829 and brought to the National Gallery two years later.

The light is coming in from the left and appears to be natural as she has been painted outside, I feel like the shadows draw attention to the eyes are they are along the line of the shadow.

With the model not looking towards the painter it creates the impression that she immersed in her own world.

" The drama is in the completely unselfconscious self-absorption of this girl " Masterpieces of the Tate and National Galleries, Sir John Rothenstein and Sir Philip Hendy (1964)

Self Portraits
















These images are only two of Rembrandt's many self portraits, both of these have the lighting style that is typical of Rembrandt ( light coming in from the side, with a triangle of light on the cheek ). The light can be created by using natural light or artificial  many paintings were created with natural lighting from windows however I feel to get this effect that Rembrandt is using Lamps so that he can position the lamp so that he can see both his reflection and the canvas.

The triangle of light comes from the shadow of the nose connecting with the cheek shadows, this can easily be recreated in the studio using flash lights. The light is placed to the side between the model and the camera, it is also slightly higher than the models face so that when pointed towards the model the shadow from the nose points down into the cheek shadow, the light may need to be moved around to get the effect just right.


The image above is part of a set that was posted in my old college studio showing lighting setups, how to create them and what the effect they create. These images and similar are easily available online or in most studio information books.


Sunday 10 November 2013

Renaissance



Hieronymus Bosch


The Last Judgement, Vienna


" The painter seems to to have been influenced in certain details by the last, most obscure and terrifying book of the New Testament, the Revelation of John, also known as the Apocalypse " Andrew Graham-Dixon, Renaissance (1999) 


" he seems to have developed the devil-haunted imagination which is so characteristic of the late middle ages " Peter and Linda Murray, The Art of the Renaissance (1963)
The fear of the end of the world reached worldwide epidemic proportions during the 1490's and the Last Judgement by Hieronymus Bosch is the foremost painting prophetising the end of the world as he did not follow conventions of the other painters.
" Bosch forsook the traditional arrangement of a Last Judgement, with the damned to Christ's left and blessed to his right.  " Andrew Graham-Dixon, Renaissance (1999)

Composition

" sources of Bosch's inspiration may have been oral, written or figural traditions, but his demonology is essentially a product of his imagination, an imagination unique of its kind, prodigious, irrepressible. " Jaques Lassaigne and Robert L. Delevoy, Flemish Painters (1958)
In this painting a small selection of people are gathered with Christ in the top of the central panel, the bottom section of the painting shows the people suffering in all sorts of ingenius designs Bosch has thought up,  represented in this work are each of the seven deadly sins warding people away from committing them otherwise they would end up in Hell, which to Bosch looks like this.

The left panel is representing the Garden of Eden, however this is not represented in the typical manner,  there are scarcely any people shown in this panel, this makes me think the purpose of the empty garden is because Bosch thought that the people on Earth were sinners and did not deserve to be allowed into the garden.
Adam and Eve are stood underneath the Tree of Knowledge and Eve is offering the fruit to him, another figure in the tree is also offering a fruit to Adam, this is representing the first sin that mankind has done. Further up the panel a sword wielding angel is chasing some figures out of the garden although it is unsure why.

Detail of the Left Panel


The central panel and the panel on the right are representing Hell on Earth and Hell with many gruesome tortures taking place, towards the bottom of the centre panel is a kitchen like space where the woman in the centre of the image below is frying bodies, between her and the pan are two eggs which symbolize sexual creation. The woman above her is also cooking another body using a rotisserie. The bottom corner of the image below shows a man in repent, I think the artist has shown this because he thinks that if you sin on Earth even if you try to repent in Hell then you must be punished still, I think it is a warning not to sin.

Detail of the Right Panel
 " The unconventional composition of Bosch's triptych extends to its iconography, to the extent that its precise subject is not entirely clear. " Andrew Graham-Dixon, Renaissance (1999)


Similar Painter Hans Memling

" Other painters had treated the same subject powerfully, but no one, before or since, has had the creative intensity and ability to actualize the dreaded unknown in such fantastic images. This is particularly true in the devils, demons, evil spirits and unnerving monsters that Bosch created to inhabit the nether world. " Here 
Similar in design to Hieronymus Bosch's Last Judgement, Vienna, is Hans Memling's own version also titled Last Judgement though Memling does not show the tortures that the condemned are to go through, or does he show Heaven, only the entrance gate.


Hans Memling, The Last Judgement
In the left side panel the righteous and worthy have been sent up to Heaven, where St. Peter welcomes them and angels are guiding them up the path and into Heaven's gateway. On top of the turrets angel musicians are playing and overall this version seems as though many people will be accepted into Heaven, rather than Bosch's version where the fields of Heaven are empty. I think the people of this time would have preferred this version of the Last Judgement as they can then reassure themselves with the knowledge of getting into Heaven.

The dead are rising from their graves in the centre panel, however the main subject of this panel is the archangel Michael who is weighing them on his scales. This representation reminds me of the Egyptian Weighing of the Heart ceremony. Above the angel Jesus is watching over the process, I think this was so that people knew the process was going to be fair and everybody would be judged, not just condemned. In the background on the left is an angel and a devilish figure both holding one side of a man, this looks to me as though even though the archangel is sending people to both sides the guardians of Hell are trying to take more people. On the other side of the background other devilish figures are stopping the condemned from trying to escape the fires of Hell.

The right side panel shows people being thrown into the flames of Hell with devilish figures watching over them. I find it interesting that an angel has been painted on this side of the scene and my interpretation is that it is either an angel there to watch over them and provide some comfort in the peoples final moments or that Memling is portraying the fallen angel Lucifer (also known as Satan) who could see himself as an angel still because he is punishing the evil.


Sources



  • Andrew Graham-Dixon, Renaissance (1999)
  • Jaques Lassaigne and Robert L. Delevoy, Flemish Painters (1958)
  • Peter and Linda Murray, The Art of the Renaissance (1963)






Saturday 2 November 2013

The Middle Ages



Lindisfarne Gospel Page


Decoration Page at the beginning of Saint Matthew's Gospel

What is a gospel?

"A gospel recounts the life of Jesus of Nazareth and his teachings, which form the foundations of the Christian faith" Here
" Several gospels had been written by disciples of Jesus during the centuries following his death, but only four were authorised by the Council of Nicaea in 325 for inclusion in the Christian Bible. These four were attributed to St Matthew, St Mark, St Luke and St John, known as the four Evangelists. This page shows the first words of the 'Gospel of St Luke'. " Here
 Typically manuscripts would be worked on by whole teams of scribes and illustrators however this gospel was worked on solely by one monk who was named after his death in 721 as "Eadfrith Bishop of Lindisfarne" this gives the book a sense of connection as all the illustrations are in the same style rather than being a collection of different artists work in one book.

" with the exceptions of the rubrics and some contemporary corrections and additions to the text, the whole of the Gospels had been written out by a single scribe. furthermore the decoration is so closely linked to the writing, particularly in one or two places where the original scheme was sketched out and then changed before the page was finished, that it must have been the work of the scribe himself  " Janet Backhouse, The Lindisfarne Gospels, page 14

Many people believe he died leaving his work unfinished however some of the unfinished designs are at the start of the manuscript and it has been thought that he left it unfinished and purposefully made tiny mistakes in his work to show that nothing and nobody can ever achieve perfection other than God. I believe this theory as Christianity teaches us that God created the world and everything within it and he achieved perfection doing this and nobody can be better than God.

What makes this gospel so valuable? 

" Apart from its intrinsic value as a remarkable survival of an ancient and astonishingly beautiful work of art, the manuscript displays a unique combination of artistic styles that reflects a crucial period in England's history. " Here
" A word by word translation into Old English, (Anglo-Saxon), was added between the lines during the third quarter of the 10th century by a priest named Aldred, afterwards Provost of Chester-le-Street, giving us, in addition, the earliest surviving version of the gospels in any form of the English language. " Here

How was this created?
" Aldred's inscription, added in the 10th century, recorded that the Lindisfarne Gospels were bound by Ethelwald and the cover decorated with an impressed design. 
A jewelled casing was added to the book by Billfrith the hermit priest. Both Ethelwald's and Billfrith's work has disappeared, probably removed by Henry VIII’s commissioners when the dissolution of the monasteries was ordered in around 1536. "    Here

The pages themselves were made from Vellum :
" The word vellum is Old French for calf skin, however vellum is made from either calf or goat skin and parchment from sheep skin. The skilled process is much the same whichever skin is used. The skin of the animal is shorn, washed and laid fleece-side down in water for 24 hours before being soaked in a lime bath for three days. " More Here
" Before writing, 4 large sheets of vellum were stacked, and folded in half, to form a gathering of 8 leaves, 16 pages. To make the book, gatherings of 4 sheets of vellum were sewn onto leather cords, the ends of which were threaded into thick wooden boards and secured with wooden dowels. Then the boards and spine would have been covered with damp leather. " Here
Once the sheets were prepared and folded the frame for the writing could be marked out using small pinprick holes either using a sharp round stylus or the point of a small knife. then each sheet was separately marked with ruled lines for writing with a hard dry point, this is to be as not noticeable as possible. It is assumed Eadfrith used a double pointed instrument because each pair of line guides (top and bottom) is the same width.


The script was written in the formal script of "insular majuscule"
"The manuscript which he was making was intended not for the use of students in a library  but for ceremonial use in church, where it wold be carried in procession and used for reading, perhaps not every day but certainly on special festivals " Janet Backhouse, The Lindisfarne Gospels, page 22
This script was developed in early Christian Ireland from where it spread to England because of missionaries travelling to Northumbria. It was wrote with consistant broad nibs and held parallel to the guide lines that were drawn onto the page. The layout of the writing is written in two columns and it is possible that this is because Eadfrith had seen earlier Italian books.

The Anglo-Saxon to English translation is written in a similar font that developed from insular majuscule known as "insular minuscule", it was developed as a time saving form of script from the majuscule. Minuscule was often used for business and legal documents or for transcribing less formal books.




Sources






Book of Kells opening page of the Gospel of Mark 




Photograph: 

The image above is one of the opening pages of the Gospel of Mark in the Book of Kells, at the start of each gospel there is three decorative pages, one page with the symbol of the evangelists (shown below), another with an image of the saint and the last page showing the first letters in the first word taking up the whole of the page (shown above.)

The symbols 

Evangelists symbols

" the symbols traditionally associated with Matthew, Mark, Luke and John. In the Book of Revelations, they are described thus 'and around the throne were four beasts...and the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle.' The lion represents Mark, the calf Luke, the man is Matthew and the eagle is attributed to John. " Here

The symbols were thought to represent the four stages in Christs life:

" the man symbolises the Nativity, the lion shows His royalty and majesty, the calf, as a sacrificial animal represents His sacrifice on the cross, and the eagle His ascending to Heaven " Here
Decorated in the ornate lettering in the opening pages of the Gospel of Mark is a drawing of two entwined snakes

" The snake is prominent throughout the manuscript as a symbol of Jesus’ rebirth and resurrection, due to the shedding of its skin. Here, snakes interlace sinuously at the tops and tails of the first two letters, their heads meeting to form crosses, emblematic of Jesus’ crucifixion " Here
" Today, the snake is usually used as a symbol of evil, but when the book of Kells was made snakes were seen as wise " " The shedding of a snakes skin was a symbol of rebirth "
 Here

Origin of the Book

" The place of origin of the Book of Kells is generally attributed to the scriptorium of the monastery founded around 561 by St Colum Cille on Iona, an island off the west coast of Scotland. In 806, following a Viking raid on the island which left 68 of the community dead, the Columban monks took refuge in a new monastery at Kells, County Meath. It must have been close to the year 800 that the Book of Kells was written, although there is no way of knowing if the book was produced wholly at Iona or at Kells, or partially at each location. " Here
" The last few leaves of the Manuscript, which in all probability would have furnished us with full information as to scribe, illuminator, and place of origin, have been missing for many years " Sir Edward Sullivan, The Book of Kells, page 4

Creating the pages

The pages of the book were created the same as in the Lindisfarne gospel, however Sir Edward Sullivan said in his book :

" it is at times finely polished, but more often it is hard and not well cleaned. Goats, sheep and calves supplied the skins, but the irish preparation of them was by no means the best " page 35

Coloured dyes were used as inks and each colour was painted on the same way writing would have been.
" These bright ornamentations were produced with a range of animal, vegetable and mineral based inks. The text for example was written with ink derived from the pulp of oak apples mixed with iron sulphate while red and white lead, chalk and woad were readily available to the illustrators. Deep blues could be produced by using lapis lazuli imported from Afghanistan, pinks came from the turnsole plant (called Folium), bright red from a Mediterranean insect (Kermes) and yellow Orpiment from arsenic sulphide. " Here 
" Professor Hartley  who has gone into the matter more thoroughly than others, gives his conclusions in a paper published in the Proceedings of the Royal Dublin Society, N.S., Vol. IV., 1885 : " A very careful examination of the work shows that the pigments mixed with gum, glue or gelatine are laid on somewhat thickly - there is no staining of the vellum and no mingling of tints. There is, however, as was pointed out to me, a painting of blue over a ground of green " Sir Edward Sullivan, The book of Kells page 47
Professor Hartley also came to his own conclusions about some of the materials that were used as dyes :

  • Black is lamp black, or fish bone black
  • Bright red is realgar (arsenic disulphide)
  • Yellow is orpiment (arsenic tersulphide)
  • Emerald Green is malachite
  • Deep Blue is Lapis-Lazuli 
  • Reddish-Purple is finely ground glass coloured with gold (this sparingly used as it is expensive)

Palaeographers believed the writing tools to be sharp metallic pens or reeds, but Dr Keller rejected that theory believing that the pens were instead quills made of swans, geese, crows and other native birds. Dr Kellers idea is now widely accepted. Taken from The book of Kells by Sir Edward Sullivan.


Sources







Tuesday 22 October 2013

The Ancient World



The Greek historian Herodotus (500 BCE) stated:
Of all the nations of the world, the Egyptians are the happiest, healthiest and most religious.
Gods and Goddess's

The scenes depicted on the walls of tombs show every day activities such as farming, building ships and also going to war, within all of these scenes the humans are accompanied by "neteru" (gods) this shows the connection between the humans and gods and the strong belief that the gods are watching over them.

There are estimated to be around 2000 different gods and goddesses that the Ancient Egyptians believed in and would pray towards asking for help. Many different roles of the gods and goddesses would overlap between two or more, this is thought to show that they believed each helped each other rather than having a singular role.

Selection of some of the Deity's


Anubis
(embalmer of the dead)

The Creation

Present day scientists are in agreement with the Ancient Egyptians about the state of the Earth before the Big Bang, however the Egyptians believe that the creation was planned by Divine Law and that "The One" commanded the Universe with his voice :

I am the Eternal ... I am that which created the Word ... I am the Word ...

They believe that everything was created when the corresponding sound had been spoken by Ra (god of the sun and the creator) and that the objects magically appeared and this was how they got their names.

Ra was believed to be swallowed every night by the sun goddess Nut and was reborn every morning, he was depicted as a man with a hawks head and sun disk headdress. Many believed that he travelled through the underworld at night and while he was there he was a man with a rams head

Ra
Nut
(sky goddess)














Man on Earth

They believed we have a purpose on earth and that everything was for a reason, we are just pieces in the grand design of the universe. They also believe that we have been placed on Earth until we can show we are harmonious and deserving of the Afterlife. If in our time on Earth we fail then we are reincarnated until we can prove we are worthy.

After death there is the Judgement of whether in our earthly life we have done our "duty to man" this is called the Weighing of the Heart Ceremony.



Standing before a committee of 43 deities plus the god of the dead and afterlife Osiris, the judged must swear on the name of each and confess to having committed no sins against each. If found innocent then the judged was permitted to move forward. If they had sinned in their lifetime then they would be returned to Earth in a reincarnation until they do not sin.

Osiris

A ritual alongside this was weighing the deceased's heart against a feather, if the heart was lighter then the dead were allowed into the "Fields of Hetep and Iaru" which is their Heaven. However if the heart was heavier than the feather then the beast Ammut (or Ammit) would be permitted to "gobble" the heart, this is a punishment worse than Hell because without the heart then the deceased would cease to exist completely.

The thought of ceasing to exist frightened the Ancient Egyptians and in the present day I feel many people are still frightened of dying and leaving nothing behind for people to remember them by.

Tombs

The scenes that were drawn onto the walls of tombs were there because the deceased was hoping to have that same life in the after-life. It was believed that drawing these scenes onto the tomb walls ensured the deceased was going to find that in heaven everything was harmonious, same as had been in the scenes on the wall.
Saqqara Tomb of Ti

The tombs were often packed full of material objects that the deceased was thought to need, they had models of the tools of their trade, clothes and other essentials. 
Model versions were often used instead of the full size real versions as these were cheaper to make and meant there was more spacing inside the tomb. In my opinion it also meant the individuals tools could be passed down onto their next of kin so that they could take up the business.
In the after-life the model sized tool would be transformed into a full sized real tool for the person to use so it would not matter that the person would be buried with only models.

They were also buried with a food supply and scenes of food on the wall, this was as the Egyptians believed in offering food up to the gods. They would have been buried with a supply of their favourite foods as this is what they would be hoping to eat in the afterlife, the paintings of food were thought to continue the supply of food after the material supply had been eaten as the food would be transformed into real in the after-life. 

In the tomb painting the size of the people was important as the most important person/people were the tallest and more prominent within the scene. This was often a representation of the most wealthiest and important powerful people. It also represented the person who had commissioned the painting to be done for example in the Tomb of Ti he is the largest person because the tomb was representing his life.


Mastaba of Ti
(hippopotamus hunting) 


Writing
Hieroglyphs
Also referred to as pictographs or phonographs 


The Rosetta stone is a text that is written in three different languages; hieroglyphs, demotic and ancient Greek. Scholars were able to translate the text by using the Greek section of the stone as it is the same piece of writing for all languages.
Rosetta Stone

Demotic
Comes from the word "Democracy" which has the definition of:
 "a system of government by the whole population or all the eligible members of a state, typically through elected representatives. "
 Because Hieroglyphs were mostly used by the priests and others who were wealthy enough to afford books and to be educated, another style of writing was created "for the people" this writing influenced the modern day alphabet that is in use.


Sources




  • Egypt from Alexander to the Copts, An Archaeological and Historical Guide, Edited by Roger S. Bagnall and Dominic W. Rathbone