Thutmose, Bust of Nefertiti

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Thutmose, Bust of Nefertiti발음듣기

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We are in the Neues museum in Berlin and we are looking at the famous bust of Neferititi.발음듣기

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It is a life-sized full colored image and it is really impressive.발음듣기

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It is the treasure of this museum and it has been placed in a rotonda with a large dome, she's been placed slightly higher than eye level so we look up at her.발음듣기

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She is fabulously beautiful.발음듣기

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She is virtually the sole work of art in this very large space.발음듣기

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Its clearly, she is the focal point.발음듣기

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Yes, it's quite theatrical And unlike the many other Egyptian sculptures, she wasn't intended for a tombe.발음듣기

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She was found in the studio of artist who made her, Thutmose.발음듣기

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We think that this sculpture is actually a model that he'd created in order to work on other sculptures of her.발음듣기

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That is This sculpture would function as a three dimensional sketch. As a prototype.발음듣기

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That's right.발음듣기

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And there are a few reasons why that's thought, not only wat it found in his studio, but it is incomplete in a way that it suggests that it was never meant to be completed.발음듣기

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If you look for instance at the sockets of the eyes, that would generally be inlaid with semi precious stones but only one eye has any inlay in it.발음듣기

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And in that case it is temporary material, even wax.발음듣기

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And so, not the kind of quality that one would expect in a full fledged sculpture for the queen.발음듣기

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Art historians have discovered through scientific analysis that she is made not of just painted limestone, but limestone that is covered with a very thin layer of plaster and that enabled the sculptor to achieve really a subtle effects modelling her face.발음듣기

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But in the neck and the headdress the plaster gets much thicker.발음듣기

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It would have been much easier to work and create that very fine detail on the plaster rather than on the coarser material of the limestone core.발음듣기

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And that is so important where we see the lines very subtle movements around her cheeks.발음듣기

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What is so remarkable about this sculpture is how sensitively carved she is, how we get a sense of skin and bone and these lovely movements around her face.발음듣기

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She is tremendously elegant but even beyond this simple elegance of the contrast of her face, her high cheekbones, the shallow of her cheeks, her long neck, beautiful symmetry.발음듣기

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A way in which line is unified throughout the entire portrait bust for instance, if all the lines downwards that are constructed by the contours of her headdress, but tapers as it moves towards her chin to her face and headdress create a perfect triangle.발음듣기

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But that's actually continued by the lines of her neck below her chin and it's accentuated by the lighting in the museum, but it really does create the sense of continuity from the top of the sculpture to it's base.발음듣기

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What we are describing is a new ideal of beauty that's really different from the tradition of ancient Egyptian sculpture.발음듣기

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And that's because Nefertiti was the wife of the pharaoh Akhenaten, who established a new religion in ancient Egypt that was monotheistic instead of the traditional polytheistic religion and with that he created a new ideal of beauty, that we see in the sculptures that were created during his reign.발음듣기

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That's right.발음듣기

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I think we see this sculpture really is a perfect exemplar.발음듣기

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Nefertiti is especially interesting, because we believe she did not simply function as the wife of the pharaoh, but she is shown in so many portraits with the accoutrements of the ruler, that we think that she actually shared power.발음듣기

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It's interesting, this period we call the Amarna period of Akhenaten's reign, where we have two powerful women.발음듣기

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His mother Tiye and his wife Nefertiti.발음듣기

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Both represented as beautiful women, as powerful women in giving us a kind of insight in to late Egyptian culture.발음듣기

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