Began with the artistic revolution under the reign of King "Zoser" where the work of sculpture in his pyramid, which unfortunately has little left of it but at the same time evidence of a major step towards establishing the foundations of ancient Egyptian art.

       There are statues in the courtyard of the festivities damaged, and it seems to have been to the king wearing a cauldron of short celebrations. There is another four-foot statue base, which is in the position of four men, either to Zoser standing in front of the lords, or to the feet of his family members. The importance of this rule lies in that it is the first model of group statues in ancient Egypt.

Sculpture in the Early Fourth Dynasty:

 But if we moved to sculpture in the early fourth family, we find only the statues of this early period of this family some of the divisions.

  The statues of individuals are probably stone. A magnificent limestone statue of Prince Hamoun, the King's Minister Khufu, who was the director of his royal work and therefore the architect of the Great Pyramid, may be preserved.

  The statues of the Jadaf-Ra and Khafre periods are conservative, and there appear to have been changes in this period. The sensitivity of the successive art managers and supervisors sought to reduce the rigor of processing the required forms and to deal with the details of the work afterwards. Flexibility.

  In the reign of Mankawra, the traditional influence of the two royal figures who carved the statues of Jadef Ra and Khafre appeared on the next generation, as evidenced by the influence on the birch statues and triangles of King Mkawara.

In the fifth and sixth families:

 There has been little change in the style of sculpture, and all the features of the school of sculpture are present in it.

 But we note generally the lack of statues in this period and explains Cyril Aldredd to the lack of funerary buildings, and adds another reason, which lies in the quality of stones used in sculpture, especially limestone damaged by damage to the damage to the royal effects, unlike the statues of the fourth family that was carved Of solid stones.

 If we refer quickly to the statues of individuals, we would say that they were few when compared to royal sculpture, and perhaps because of the lack of trainers on the manufacture of statues, they were a few, and were busy most of their time in the work of their kings, and if they have some time after that They were spending it in the work of the statues of some children of the king and his family of importance.

At the beginning of the Central State:

  It is noteworthy that the sculpture at the beginning of the Middle Kingdom was considered an extension of the sculpture that collapsed during the first transition period. The rise or fall of any branch of the arts depends on the political and economic stability.

 Once the country regained its unity and became stable, the Egyptian sculptor began to regain his authenticity. He produced many pieces of museums that stand witness to his ingenuity. Sculpture schools expressed idealism in their best form in the statues of Senusert I, which were found in the Lisht (preserved in the Egyptian Museum). The idealistic school combined with realism, which represented the characteristics of the times in the features of its kings, was clearly visible in the statues of Senusert III, Which corresponds to being a strong military figure. The statues of Amenemhat III expressed a peaceful figure dedicated to construction and reconstruction.

 One of the most remarkable examples of the Egyptian example is the wooden statue of the king "Manacao-Hor" preserved in the Cairo Museum, which was found in Dahshur. This statue is one of the rare examples that showed the king naked, although there is a possibility that the camouflage was covered.

 In the Middle Kingdom, wooden models were used. These were small statues made of limestone at first and then made of wood covered with colored plaster.

  These statues were made in a simple manner to represent groups of individuals of a certain profession, such as carpenters, brewers, soldiers, farmers, etc. These models were placed with their owners in their tombs in the hope of making use of them in other life.

 Sculpture is an art of three dimensions (length, width and thickness), and with a look at the recent statues of the modern state, some express the idealism with force and clarity. Others express realism, as well as statues representing the Athenian school, And realism.
In the era of the modern state:

  If the sculpture in the modern state, like other arts (engraving and painting), is largely an extension of the main characteristics of the same art in previous periods, the modern state has been characterized by two new factors:

  First: the expansion of Egypt's borders and the formation of a vast empire that included some areas of the ancient Near East,

  The second is the emergence of the Athenian religious thought adopted by Akhenaten.

   The first factor has led to the acquisition of sculptural art, in addition to its previous characteristics, strength, agility and a sense of art, and a more understanding of the anatomical elements of the bodies of living things.

 The art of carving sculptures in the modern state is more expressive than ever in any age, and even more vibrant and more liberal, insofar as its official character, the authority of priests and the traditions imposed by the requirements of religious rites permit it.

   The sculptural art had to take care of what appeared in new clothes, such as the long pleated robes, wide necklaces, ornaments and large headgear.

 While architecture used larger blocks than ever before, we see that the objects tend to elongate, the movements become more refined and flexible, and one will notice that the art of statues has gained from flexibility and agility what some of the bully might lose.

 The exaggeration of these qualities within the nineteenth family has led to overcharging and sometimes excessive idealism.

  The works of sculpture dating back to the late 17th Dynasty indicate that the traditions of the Middle Middle Ages were not greatly affected by the period of occupation. The statue of Queen Ahmus Nefertari (wife of King Ahmus I) features simplicity and reverence, and promises prosperity in sculpture, Check in a short time.

   The artistic masterpieces soon emerged, evidenced by the magnificent statuette of the god Hatshepsut, found in her temple in the monastery of the sea, represented in the form of men. The body appears masculine and in some form of hardness, but nevertheless full of beauty and vitality. The facial features are indicative of the tenderness and subtlety of the female creatures, coupled with an indomitable will.

  The same expressive qualities were achieved in the statue of Tuthmosis the Third, preserved in the Cairo Museum, which he represents as he walks with his nine arches and the Tuthmosis IV collection in the Cairo Museum. The monumental statues of King Amun-hottep III and his wife T are part of the traditional statues that will be transformed by a significant and profound change from this age.

       It is worth noting that since the time of Amenhotep III begins the magnificent artistic prosperity of the modern state. In the British Museum there is a magnificent statue of this powerful king, sculpted with great skill. The statue is distinguished by the distinctive features of the great statues of Amon Houtep III, like the almond-shaped eyes whose angle tilts inward and rises from the side of the temples. A mysterious smile.

 This prosperity was confirmed in the reign of Amenhotep III, and this artistic trend in his magnificent statue found in the cache of Luxor Temple, which is currently displayed in the Museum of Luxor.

  The Akhenaten religious movement was at the time when the artistic school of Amenhotep III was established and imposed its existence. This movement left its mark on the art of this period, especially in the art of sculpture.

       The attempt to get rid of the traditional technical rules was not an attempt to find its way without encountering some of the difficulties resulting from the small number of artists who were able to adopt and implement the new technical rules.

The Athenian School:

  The Athenian school was a reflection of the new religious thought adopted by Akhenaten. The face is rectangular, the neck is long, the lips are full, the chest is female, the abdomen is flaccid, the thighs are enlarged, the legs are skinny,

      Indeed, all that appears in the oaths of the king's face represents a belief that destroys every hostile administration, even if this faith is accompanied by an urgent death or an actual failure, as well as a concern that reflects the weight of the responsibility it carries on its shoulders.

      This new attempt was destined to fail religiously and artistically, and therefore Athenian art was not always present, but what remains of it is beauty, and refers to a normal life dominated by familiarity and love. These features were evident even in the royal statues, which were never before. Of the royal family before Akhenaton was her property, and the people had no right to know anything about her, and to show natural feelings was not possible, and after expressing them in a form of pictures.

In the era of Akhenaten:

  In the reign of Akhenaten, we find the king who does not mind portraying himself as expressing his natural feelings towards his family. He allowed his wife, Queen Nefertiti, to be photographed in a paper and holding her hands.

 There was also nothing wrong with a king representing a child, or taking a picnic with his wife and children.

  In fact, the statues and inscriptions found, dating back to that era, represent a distinct artistic school, a school where art is built on the principle of meditative reflection, and tends to the emotional and moral side rather than the pure material truth.

 It is clear that the artists who sought refuge in Akhenaten studied the anatomy and deception completely, as evidenced by the set of plaster masks and the molds found in Amarna.

     The experience of the Athenian school was over, but its features did not disappear, some of which remained under Tutankhamun, Ay and Hur Mohib.

 The 19th Dynasty retained the tradition of tenderness and elegance, which was followed at the end of the 18th Dynasty, and one of the most beautiful statues of finite precision is the statue of Ramses II, preserved in the Museum of Turin, Italy.
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