[MUSIC] When a viewer responds to this type of stimulus, he or she will experience either a conscious or unconscious reaction to something the artist has expressed. We must also recognize that it is possible that the artist himself or herself may have included icons, situations, colors, etc., either consciously or unconsciously. In other words, he incorporated deliberately, or was unaware of what he or she had done. For the most succesful interaction, then, the artist and the viewer should have some common ground between them. And that is why I have just mentioned the importance of some shared information. Another issue we need to confront is whether the concept of art for art's sake existed in the art of ancient Egypt. One possibility of its occurrence might be visible in the minor arts, where there may be no explicit message in utilitarian objects such as a clay pottery vessel. In this case, it could be that it was also valued on its aesthetic level, as well as a simple pottery vessel. It might have a pleasing shape and a finish produced so well that its value can be apparent in both its use as well as its aesthetic level. Although owner of ointment and cosmetic containers from a later period may seem at first glance to fit into the same category as well. But often, this type of item can also carry a message. For example, this vase from Penn's collection has a shape and image that maybe suggestive of the goddess Taweret, who is important for protection during pregnancy. There is an ointment jar that was found in Tutankhamun's tomb and it possesses icons and scenes evoking the Pharaoh's power over his enemies. These are only a few of the items with such messages. It is perhaps safe to say that even the objects that the ancient Egyptians produced for daily use, could have not only a practical purpose and a high aesthetic and technical production level, but it also could convey an explicit or implicit message. Even the portraits the Egyptians produced in two and three dimensions had religious significance for the relic to be still on Earth, for example. And also for the individual who has passed on to the after life. Some portraits especially of the later periods were framed and first adorned the walls of the houses of the living. Only later after the individual died did they become part of the funerary equipment. They later affixed the portrait to the front of the coffin after death. Also, from a domestic context were the ancestor busts, which could recall a deceased relative, but also had essential role in the ancestor cult in the house. Even seemingly decorative carving on furniture and in architecture can have explicit messages especially when they take the form of [INAUDIBLE] which you can quite literally read. And this was the case also with the minor arts where aesthetic sensibilities existed, as well as in the major arts that the Egyptians' statutory reliefs and architecture showed. Needless to say, different levels of quality also existed in this category. Unlike cultures from more modern times in ancient Egypt, artisans were anonymous and most of the time the work of art resulted from a group effort. Ordinarily, it was unusual for specific artists to be singled out and identified. Imhotep the architect of the step pyramid, which I mentioned a few minutes earlier, was recognized as the architect of the step pyramid and even worshiped in later periods of history as an important sage. Another exception to the rule was the architect Senenmut and was credited with the design of the temple of Queen Hatshepsut. While artists, as a rule, never sign their work, Senenmut essentially did that when he depicted a small image of himself hidden behind a doorway in the temple that he designed for Queen Hatshepsut. That both art and artisans were important is clear from the many representations in tomb chapels depicting them at work. And this happens in both the old and middle kingdom as well as the new kingdom and even later. In addition, there were quite a few titles referring to those professions relating to art. For example, line draftsman, sculptor, architect, painter. Moreover, painter's equipment was also found in upper class and even royal tombs. At least two officials of the old kingdom are depicted sitting at an easel, and painting a scene. And on each of these easels, it appears that they are depicting the three seasons of an Egyptian year. Such representations, however, undoubtedly had religious significance. Perhaps related to the depiction of the seasons found on the walls of Royal Sun temples of the Fifth Dynasty. In the 18th dynasty, however, we can identify the sculpture back by the many titles he held, and he may have even been one of the overseers responsible for the royal workshops at Amarna that produced some incredibly beautiful pieces. This was the new capital that Akhenaten built. Archaeologists have also discovered the studio of the sculptor Thutmose. At that site and representations on the wall of the Armana Tomb of Huya, also depict and identify particular sculptors. As I mentioned before, Egyptians did not identify for the most part the art or architecture, as a product of a particular individual since almost all were produced in a workshop with several artisans involved in the process. Occasionally, however, we can see the distinct style of specific artists such as the figures in the tomb of the 12th Dynasty official, Ihy. That I work on in the area of Saqqara, actually not far from the Step Pyramid of Djoser.
