悲伤、性别和同理心

IF 0.2 0 ART Eikon Imago Pub Date : 2021-02-08 DOI:10.5209/eiko.74151
Inmaculada Vivas Sainz
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引用次数: 1

摘要

本文关注的是埃及孟菲特大墓地中18王朝末期的私人墓葬场景,特别关注其中的艺术资源,以及根据哀悼者性别明确划分的群体,因为在古埃及场景中,表现出表达态度的哀悼者尤为罕见。在送葬队伍中,悲伤的男性和传统的女性哀悼者的出现是引人注目的,描绘了富有表现力的姿势,引起了旁观者的同情和悲伤。的确,哀悼场景中的情感表达及其在曼菲特墓葬装饰中的多样化艺术处理揭示了艺术家的创新和原创性,这些特征可以追溯到阿肯那顿统治时期。本文探讨了后阿玛纳艺术的丧葬肖像创作的复杂过程,这是一个反映在私人坟墓场景中的宗教、政治和社会变革时期。
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Sadness, Gender and Empathy
This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.
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CiteScore
0.40
自引率
0.00%
发文量
44
审稿时长
6 weeks
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