By Watts, E. and Girsh, B. and Metropolitan Museum of Art (New York, N.Y.) and Metropolitan Museum of Art Staff
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Note also the Egyptian appreciation for clarity and balance. The numerous floral and amuletic elements are clearly set off by thickly applied dark red, green, and black colors on the yellow background, which is glowingly enriched with the sheen produced by a colorless resin varnish. With all their richness and detail, however, the images are ordered and balanced throughout by their arrangement 63 in vertical and horizontal rows and by the framing bands with inscriptions. It is also interesting to note the differences among the three lids.
The wax then is covered with a layer of clay, and the form is fired, which causes the wax to melt and run out and the clay to turn into terracotta. Finally, molten metal is poured into the space where the wax was, and when it has completely cooled, the terracotta is broken away. Alternatively, with the more complicated procedure called hollow casting, the wax model is formed around an anchored clay core. This core remains as the inside of the metal statuette. This technique has the advantage of reducing the amount of metal necessary.
In the same time that scribes were finalizing the standards and signs of hieroglyphic writing, artists were creating conventions for representation of figures and objects in sculpture, painting, and relief. Consequently, most Egyptian works of art are actually larger forms of the figures in hieroglyphs. ” As much care was taken in drawing the hieroglyphs as in creating the images in art. It is not surprising, therefore, to find that in the ancient Egyptian language the same word (sekh) is used for writing, drawing, and painting.