Egyptian style

Ancient Rome

Cleopatra's relationship with Caesar (from 48 BC), her life in Rome, and then the Last War of the Roman Republic , the conquest of Egypt and its transformation into the province of Roman Egypt , the triumph and the bringing of trophies influenced the appearance of Egyptian motifs in Rome . Ancient Egyptian art, with its powerful energy, impressed the Romans, no matter how alien it was for them. August classicism, with its majesty and triumph, turned out to be ideologically susceptible to forms of Egyptian art, also imperial. In addition, mysterious cults, including Egyptian ones, actively penetrated Rome from the East.

It is known that in 43 BC. e. on the Champ de Mars were built the temple of Isis and the temple- serapeum of Serapis , surrounded by a wall, decorated with obelisks and statues. The third district of Rome was even called Isis et Serapis in honor of another, double temple to these gods. The temple of Isis in Pompeii has been excavated. Villa Adriana also bears distinctive features of the influence of the cult of Serapis, statues were taken there from Kanob (by the way, the lover of Adrian Antinoy drowned in the Nile and was later deified by him).

The Romans introduced a custom that has survived for millennia - to transport Egyptian obelisks and statues and decorate their cities. To this day, 13 obelisks have been preserved in Rome (8 of them are genuine, the rest are imitative; see the List of obelisks of Rome ). And on Capitol Hill (from the 16th century at the foot of the Capitoline Stairs ) there were figures of lions from black basalt.

Egyptomania is also visible in architecture, in buildings being built from scratch. The most famous example is the Cestius Pyramid , which is characterized by a lack of understanding by local architects of the proportional principles of real pyramids. The distinctive features of Egyptomania are demonstrated by the Third Style of Ancient Roman Painting (the so-called “ornamental” or “Egyptizing”) (for example, Orpheus’s House , Villa Mystery in Pompeii).

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  The worship of Isis in the Roman Empire, Pompeii fresco

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  Vatican Obelisk in St. Peter's Square, Rome

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  Lion at the foot of the stairs

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  Image of Antinous in the form of the god Osiris .

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  One , the fresco of Villa Mysteries

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  Cestius Pyramid in Aurelius Wall

In Byzantium, around the year 450, an “Egyptizing style” was also noted ^[4] , but it is likely that we are talking about some Hellenistic manifestations. In Constantinople at the Hippodrome c 390 was the ancient Egyptian Obelisk of Theodosius .

Renaissance

The Renaissance drew attention to the ancient Egyptian art, among other things, the heritage of Ancient Rome. Its most visible remains - Roman obelisks, defeated in the Middle Ages, were raised and again turned into city-forming elements (moreover, these procedures were often very difficult technically). Around 1512, Giulio Clovio (presumably) completed the miniatures The Servant of the Column for Cardinal Pompeo Colonna with explicit Egyptian décor elements.

However, there were few graphic motifs, mainly intellectual comprehension. A great contribution was made by humanists who avidly studied ancient texts. Poggio Bracciolini translated Diodorus , describing the wonders of Egypt, Nicolo dei Nicoli - Ammianus Marcellinus , who in the IV century described his trip to Egypt and the wonders that he saw. In 1419 Gorapollon ’s manuscript “Hieroglyphics” was found containing erroneous attempts to translate hieroglyphs. In 1517, Filipo Fasanini translated it. In 1463, Marsilio Ficino translated the text of Corpus Hermeticum, attributed to the Egyptian sage Hermes Trismegistus . In 1488, the image of this Egyptian was included in the mosaic floor of Siena Cathedral.

The text and drawings of “Hieroglyphics”, as well as hieroglyphs copied from the frieze of an ancient Roman church in San Lorenzo-fuori-le-Moura , were used in the dream novel “ Hypnerotomy of Polyphilus ” (1499), which was very popular for several centuries and influenced many works of art. The new “Hieroglyphics” ^[5] , which is an emblem book, was completed in 1575 by Pierio Valeriano Bolzani, had images of hieroglyphs and pseudo-hieroglyphs in an encyclopedic order, systematized for moral and theological analysis of nature, and tried to interpret them symbolically. The book was actively quoted and copied in subsequent eras ^[6] . In 1531 a new emblem (Alciati) was published. Mysterious pseudo-Egyptian pictograms can be found in Leonardo, Mantegna, Pinturicchio, Giulio Romano, Durer. In portraiture, “ennobled” hieroglyphs-symbols (“discipline, perseverance, caution, prudence and fortitude”) were used by Sebastiano del Piombo in a stone parapet on his “Portrait of Andrea Doria” (1526) to create a rebus that was easily read by all educated people of that time, familiar with the above compositions.

The hieroglyphic writing, although attempts to decipher it using the text of Horapollon were unsuccessful, completely fascinated the humanists. Many of them considered the Egyptian language to be the original Adamic language that existed before the Fall, which was facilitated by the remark in the Book of Genesis that Adam gave names to all beings (clear evidence that he knew some language). The project of recreating such a language was an obsession that Renaissance humanists and their successors could not refuse. The idea was presented by Leon Battista Alberti in "On Architecture" (1452), where he suggested that the hieroglyphs were a lost universal language ^[7] . The image of the hieroglyph-eye can be found on his medal "Self-portrait" (1438) under the chin. The same eye can be found on the reverse of his medallion portrait of Matteo di Pasti ^[8] .

For the popularization of Egypt, it was important that humanists took out from ancient texts the idea that the Seven Sages of antiquity were students and followers of Egyptian priests (for example, Pythagoras - Trismegistus). For example, the Egyptians Herodotus highly praised (Histories ii. 77). Thanks to this, the Panrim theory arose: Egypt began to be regarded as the source of classical culture, and the Etruscans and Romans - its direct descendants and heirs. Hieroglyphs were perceived as archetypes of Platonic symbols, that is, representations of the ideas of the divine world (logos), the highest form of reality ^[7] . Plato and Hermes Trismegistus were considered by them as the forerunners of Christ, and their texts should be integrated into the Christian corps ^[9] .

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  The lifting and installation of the Vatican Obelisk in St. Peter's Square in Rome in 1586. The engineer is Domenico Fontana .

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  Elephant carrying an obelisk. Illustration from Polyphilus Hypnotherotomy, published by Ald Manucius in 1499.

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  An example of the image of “hieroglyphs” in the Renaissance (from the “Polyphilus Hypnotherotomy”).

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  Hermes Trismegistus on the mosaic of Siena Cathedral

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  Leon Battista Alberti (or Pisanello ). Self Portrait / Portrait of Leon Battista Alberti

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  Sebastiano del Piombo. Andrea Doria

Baroque and Rococo

A great lover of Gipnarotomahii was the philosophically educated Pope Alexander VII . It was he who turned to the sculptor Bernini so that he would make a pedestal in the form of an elephant for the imported ancient Egyptian obelisk, such as the one described in the book. Now the obelisk (1667) stands on the square of Minerva in Rome.

In the era of mannerism (XVI century) the sphinx was resurrected, but in the “French version”: with a raised head and female breasts, earrings, pearls and a naturalistic body. (We also note the antique difference between the "Egyptian" lion sphinxes and the "Greek" - winged and female). Similar sphinxes were inspired by the grotesque frescoes of Domus Aurea , the Nero palace found in the 15th century. The motif was easily included in the iconographic corps of classical Arabesque motifs, and spread throughout Europe through engravings in the 16th – 17th centuries. Sphinxes adorn the frescoes of the Vatican loggia of Raphael (1515-20). In French art, the sphinxes first appeared in the art of the Fontainebleau School in the 1520-30s, and can be traced to the Baroque and late Regency (1715-1723). Thanks to French influence, the sphinx is becoming a ubiquitous landscape decoration throughout Europe ( Belvedere (Vienna) , Sanssouci (Potsdam), Branicki Palace (Bialystok), La Granja (Spain) and the late Rococo version in the Portuguese Palace of Kelush ).

In 1710, 5 Egyptian statues (from the temples standing there) were found in the Palazzo Nuovo ^[10] , after which rooms in various palaces and villas in Italy created rooms in Egyptian style ^[2] (Sala Egizia). Such are the Cabinet of Papyri (Gabinetto dei Papiri) in the Vatican, decorated by Anton Rafael Mengs and Christoph Unterberger, the Egyptian Hall in the Borghese Gallery , decorated by Antonio Asprocci in 1770-1782 to house a collection of Egyptian statues ^[11] . Excavations at Villa Andrian in Tivoli, where there were many Egyptian things, also contributed to the heating of interest. Villa Borghese has an Egyptian gate, the obelisk of Antinous. Villa Torrigiano - the gate, a statue of Osiris-Antinous in the garden of the villa, a Masonic park.

A kind of Egyptian-style manual was the work of Bernard de Monfocon “Antique era; with commentaries and engravings ”(1719) and Claude de Keylus“ Code of Antiquities of Egyptian, Etruscan, Greek, Roman and Gallic ”(1752-1768) ^[1] .

Giovanni Battista Piranesi also adhered to the theory of the primacy of Egyptian wisdom over ancient. If the neoclassicists Winkelman and Loje considered Roman art to be the heir of Greek, then Piranesi maintained continuity: Egypt → Etruscans → Rome . In the architectural fantasies of Piranesi, the ruins of Rome appear to be complete, including statues of the pharaohs, which the author justified in textual explanations. In 1760, he began designing Caffee degli Inglesi in Piazza di Spagna - the interior is decorated in Egyptian style. He published these interiors in "Various types of decorating fireplaces and other parts of houses taken from Egyptian and Tuscan architecture" (1769). “The Piranesi building was compiled on the basis of a study of the cardinals of Albany, Borgia and Bembo, the collection of the Egyptian cabinet of the Capitoline Museum, as well as Piranesi’s own excavations at Adrian’s villa. This corps has become the most influential source of Egyptian motifs for the art of the late XVIII - early XIX centuries. " ^[2]

In France, Piranesi's traditions were combined with the style of the Louis XVI era: and in the Rococo style , a tradition of using Egyptian elements in a non-Egyptian manner was formed, for example, in interiors, interior decor and small architectural forms (chambers of Queen Marie Antoinette in Versailles and Fontainebleau) ^[1] , statues in Sanssouci.

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  Sphinx with two bodies ( Giulio Romano , XVI century; engraving by Vaclav Holler , XVII century).

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  Mural depicting the Sphinx, Raphael (Vatican City)

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  Piranesi The Cestius Pyramid

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  Piranesi Interior of the Caffee degli Inglesi

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  Sphinx in Sanssouci Park

Neoclassicism

The paper architecture of France also did not go without thinking about Egypt, for example, there are elements in the design of the palace in Saint-Germain-en-Le- Bull , and Jean-Jacques Lekeuot created fantastic mixes using Egyptian elements.

Since the 1760s, the shape of the pyramids was also very popular in the form of smaller copies - whims pavilions, which at the end of the 18th century were everywhere hidden in gardens and parks, and could also be "antique", "Gothic", etc. Fashion helped canvases of Hubert Robert , which depicted fantastic Egyptian ruins. . The Duke of Württemberg built a bridge and a bathhouse in the Egyptian spirit in the Castle of Montbeliard .

In the Parc Monceau (Paris) (1778), Philippe Egalite, the Duke of Chartres and the park of Maupertuis (in Brie, c. 1780) the Marquis of Montesquieu , pyramids were erected - "tombs" with false graves and statues. It is important that both owners, as well as architects - Carmontel and Broniard were Masons , and Philippe Egalite - was the Grand Master of the Great East Lodge (see History of Freemasonry in France ). The decoration of both parks was rich in Masonic symbolism, and the pyramids themselves were used during ceremonies. Ancient Egypt generally played a large role in the "mythology" of Masons. In particular, their main character Hiram , the builder of the temple of Solomon, was identified with Osiris and was also killed. Mozart’s opera “The Magic Flute ”, rich in Masonic symbols, was staged in “Egyptian” scenery, although its place of action is not defined.

The pyramid symbolized the eternity of the temple and the immortality of its creator, so its shape was attached to many burials. So, on August 26, 1792, in memory of those who died in the attack on the Tuileries, a wooden pyramid was installed in the Tuileries Garden, covered with fabric, at the foot of which garlands of flowers and oak leaves were laid ^[2] .

Sphinxes were also an attribute of neoclassical decoration, and there was a return to a simplified early version, more similar to grotesque painting. Masons considered them a symbol of the mysteries and used them in their architecture, considering them as guardians of the gates of the temple. In Masonic architecture, the sphinx is a frequent detail of the decor, for example, even in the version of the image of his head on the form of documents.

In the 1770s, Josiah Wedgwood , the creator of Wedgwood Manufactory, came up with a black “basalt” clay-stone mass, which was called “Egyptian”.

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  Bulle. Egyptian Cenotaph (1786)

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  Jean-Jacques Lekeux . Project of the tomb of King Etruria (1792)

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  Hubert Robert. "The ruins of Rome with the pyramid of Cestius" (1760-1770)

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  Pyramid in the park of Monceau

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  Pyramid at Maupertuis

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  Scenery for the Magic Flute, 1816

In Russia

Egyptian motifs of classicism penetrated into Russian art ( Catherine’s classicism ), striving to keep up with fashion. Their main distributors during the reign of Catherine the Great are the Grand Duke Pavel Petrovich, who was inclined to Freemasonry, and the prominent freemason Alexander Sergeevich Stroganov . The Egyptian-Masonic elements are in the structures erected by their orders. “The spread of Freemasonry, in the mysticism and complex symbolism of which the Egyptian deities Osiris and Isis and other motifs took an important place, influenced the landscape gardening and funerary architecture. The studied objects testify to the prevalence of an “eliminating” trend style at an early stage. The reason for this lies most likely in the fact that Russian architects got acquainted with samples of this style in Europe, especially in Italy ” ^[1] .

monuments

• Peterhof :
  • Fountain "Pyramid" . The fountain "Pyramid" arose even under Peter I, on the initiative of the emperor himself, then received its name in honor of an unusual form, largely taken from the Versailles "obelisk".
• Tsarskoye Selo
  • Tomb of Italian Greyhound by Catherine II Zemira in Tsarskoye Selo, Catherine Park (1770-1772). The pyramid was designed by V. I. Neyolov. In 1774 it was demolished and rebuilt by Charles Cameron in 1782-1783. The entrance cuts one side of the Pyramid, built of brick and faced with hewn granite; in the corners there were once four columns on pedestals carved from gray Ural marble. The interior of the pavilion is covered by a spherical dome with a hole in the center; niches for storing urns are arranged in the walls.
  • Cahul Obelisk (1771) designed by architect Antonio Rinaldi
• Pavlovsk Palace , owned by the Grand Prince Pavel Petrovich, had many Masonic elements - pseudo-Egyptian, as this corresponded to his worldview.
  • The lower lobby of the Pavlovsk Palace (1786), designed by Cameron. One of the stairs has seven steps - according to the Masonic symbolism of the ascent. He suffered a fire, in the XIX century it was restored by Voronikhin.
  • The bed in the front bedroom with the monograms of Paul I and his wife was decorated in pseudo-Egyptian style.
• Gatchina (another possession of Paul)
  • White Hall of the Gatchina Palace : statues of Antinous in Egyptian robes and a priest with a sacrificial tray, which are made of black marble.
  • Chesme Obelisk in Gatchina (1775)
  • The Connetable Obelisk (1793), architect V. Brenna (?)
• Rumyantsev Obelisk (1798-1799), architect V. Brenna
• Stroganov possessions:
  • Andrei Voronikhin , the court architect of Stroganov, designed for him an “Egyptian-style” physics cabinet in the building of the Stroganov Palace (1792-1793). Before entering the office, they later inscribed: “Art Aegiptiaca Petropoli Renata” (lat.) - “Egyptian art, renewed in Petropol”.
  • Sphinxes (the first in Russia) on the pier at the cottage of A. S. Stroganov according to the project of A. N. Voronikhin (now in the courtyard of the Stroganov Palace ). At the cottage - the Egyptian gate.
• Sheremetyevo possessions:
  • Statues of the Sphinxes and “Osirian figures”, which, on behalf of Count Nikolai Sheremetev , were commissioned by his serf architect Pavel Argunov in the Ostankino estate (Blue Hall) (apparently based on drawings by P. Gonzag or C. Cameron)
• architect Nikolai Lvov :
  • Pyramid cellar in the private estate of the architect Nikolskoye-Cherenchitsy in the village of Nikolskoye, Torzhoksky district, Tver region
  • 2 more pyramid cellars: in the estate of a relative in the village of Mitino, in the estate of F. I. Glebov-Streshnev Znamenskoye-Rayok .

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  Fountain "Pyramid"

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  Cahul Obelisk in Tsarskoye Selo

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  Semen Shchedrin . View of the Connetable Obelisk (1801)

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  View of the Egyptian gate in the Stroganov Garden. 1812.

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  Trinity Church "Easter Cake and Easter"

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  Grave of Prince P.N. Shcherbatov

A characteristic feature of the Empire style is a set of decorative elements borrowed from previous artistic eras. Ancient Greek and Roman motifs were especially popular, but Etruscan and Renaissance themes were also used. Ancient Egyptian art was also included in the list of sources of inspiration. The omnivorous empire used Egyptian motifs (papyrus flowers, lotuses, palm trees, sphinxes, the heads of the pharaohs, scarabs, cobra, hieroglyphs, etc.)

The attention to the Egyptian art of the French masters (the creators of the Empire) was due to the interest of the ancient Romans - which France held as a model, as well as the fact that during the Egyptian campaign of Napoleon in 1798-1801 many ancient works fell into France. Napoleon did not win triumph there - unlike 175 French scientists, whom he brought in his wagon train, and who actively took the opportunity to document or take away monuments, including the Rosetta stone . After their return, in modern Europe for the first time there were real, and not indirect, “Egyptian” things in such numbers, and Egyptomania swept the world, replacing the previous generation’s passion with “ Chinese ”. “In France, Egyptian motifs have become part of patriotic symbolism. They were used in the construction of facilities for the glorification of the military genius of Bonaparte ” ^[1] .

The 2-volume “Journey through Upper and Lower Egypt” ( French: Voyage dans la basse et la haute Egypte , 1802-1813) by Dominic-Vivan Denon and the 24-volume “Description of Egypt” became books of samples for those who wanted to follow fashion. (1809-1813) Francois Jaumard . Denon, becoming director of the Louvre and Sevres Manufactory, turned out to be an influential figure in the planting of tastes. The Denan edition has become a source of inspiration for several generations of artists and decorators. In 1809, the engraving album "Egyptian Monuments" by the Englishman U. R. Hamilton was also published. (The British justified their Egyptomania by the Battle of the Nile, where Nelson defeated Napoleon).

Denon's examples were followed by such architects as Charles Persier , Pierre Fontaine , D. Roberts, D. Bonomy the Younger and others.

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  Page from "Travels in Upper and Lower Egypt"

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  Frontispiece Descriptions of Egypt

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  Page from the Description of Egypt

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  Building on Cairo Square (Paris), 1798

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  Fellach Fountain (Paris), 1806

Arts and crafts

Imperial suppliers, of course, picked up a new fashion. Egyptian motifs are found in such masters as Georges Jacob (furniture), Pierre-Philippe Tomir (bronze), Sevres porcelain manufactory. An example of the best masters of the French Empire was followed by smaller masters and other countries. Empire is an example of a style in which Egyptian motifs spread as widely as possible into small plastic, in comparison with previous and subsequent styles. Papyrus flowers, lotuses, palm trees, sphinxes, the heads of pharaohs, scarabs, cobras, hieroglyphs are found in furniture, utensils, watches, candelabra, etc.

In Kuskovo, the Servian “Egyptian Service” (1807) is kept, presented by Napoleon to the Russian emperor in memory of the Tilsit world, it is decorated with murals created from the engravings of the book “Journey through Upper and Lower Egypt”.

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  The Egyptian Service (1807)

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  Table in Madame de Stael's bedroom

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  “Egyptian Vase”, Hermitage

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  Candelabrum, France (?)

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  Table clock in the form of an obelisk and a pyramid (1780-90, France)

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  Sofa with a handle in the form of a Hellenized Sphinx

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  Chandelier

In Russia

In Russia, Egyptian motifs are characterized by the style of Alexander Classicism (1801-1830s), chronologically lagging behind the pan-European French Empire, as well as the Nikolaev classicism that followed. Both of them were characterized by imperial majesty, which ideologically corresponded to the Egyptian manner. The architecture used motifs such as pyramids, pylons, lotus columns, obelisks, sphinxes, etc. During this period, two tendencies of using Egyptian forms and motifs coexisted: their “Hellenizing” interpretation (for example, the design of the mausoleum of Paul I) and the construction of objects in a genuine "Egyptian style" ^[1] .

Voronikhin continues to work with Egyptian motifs, especially since in 1800-1811 his patron Stroganov became president of the Academy of Arts. After a fire in 1803 in Pavlovsk, he re-designed the Egyptian lobby of Charles Cameron. Two of his figures “Egyptians with bowls” (Pavlovsk, Hermitage) have been preserved. In 1832, the real sphinxes of Amenhotep III ( Sphinxes on the University Embankment ) were installed in St. Petersburg, which were hardly delivered from Egypt.

In the 1830s, the architect N.E. Efimov, after a trip to Egypt, wrote a theoretical treatise on the impact of the Egyptian architectural order on the ancient Greek. В литературе признаком интереса к теме являются сочинения Пушкина (« Египетские ночи », «Клеопатра»). Сохранился портрет великой актрисы Семёновой в роли Клеопатры кисти Кипренского.

Petersburg

• Проект мавзолея Павла I в Павловске (1802), архитектор Андреян Захаров
• гауптвахта у Петербургских ворот в Кронштадте
• Египетская передняя Павловского дворца, выполненная по рисункам А. Н. Воронихина
• Египетские ворота в Царском Селе (1829) по проекту Адама Менеласа. Стилизованные изображения, которыми покрыты ворота, взяты из гравюр Денона
• Египетский мост в Петербурге (1826), арх. Г. Треттер и П. Христианович
• Фигуры грифонов и львов для Банковского и Львиного мостиков через канал Грибоедова, выполненные по моделям скульптора Павла Соколова (более «греческие», чем «египетские»)
• египетские атланты на фасаде здания Морского судоходства на Дворцовой набережной (Кантемировский дворец, Особняк Громова)
• Пантелеймоновский мост (не сохранившийся вариант)

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  Павловск. Парадная лестница

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  Проект мавзолея Павла I

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  Египетские ворота

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  Египетский мост

Moscow

• Египетский павильон, Померанцевая оранжерея (1813) в усадьбе Голицыных Влахернское-Кузьминки . Возможно, автором идеи строительства кухни является А. Н. Воронихин, но известно, что завершал строительство здания Д. И. Жилярди.
• Львиная пристань с египетскими львами в усадьбе Кузьминки
• Провиантские склады — египетские по пропорциям дверные проёмы
• Архангельское (усадьба) — «Египетский зал» Большого дворца и другие элементы

прочее

• Казань: Храм-памятник воинам, павшим при взятии Казани в 1552 году (1813—1823) — пример «эллинизирующего» направления, с портиком
• Даугавпилсская крепость . В оформлении южных Михайловских ворот и западных Николаевских ворот использованы мотивы египетской архитектуры и готики; образцом служили ворота прусской крепости в Кобленце — форта «Франц»

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  Египетский павильон (Кузьминки)

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  Провиантские склады

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  Египетский зал (Архангельское)

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  Египтизирующие кариатиды (Архангельское)

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  Daugavpils fortress

Историзм

Эпоха историзма , с более дотошной внимательностью к исторической достоверностью, также обращала внимание на египетские мотивы, намного меньше их стилизуя, чем это было в предыдущие эпохи. Дешифровка иероглифов в 1822 году подогрела интерес к «истинному» открытию Египта и его истории. В живописи стиль ориентализм тяготеет к максимально «реалистичному», но при этом романтизирующему изображению Востока.

Популярности добавляли научные открытия ( Огюст Мариетт ), строительство Суэцкого канала (1869), раскопки Амарны (1887), художественные произведения («Роман с мумией» Теофиля Готье , опера Верди « Аида », 1871, и др.). Идейная основа египетского стиля изменилась — он заметно демократизировался. «Это уже не стиль государственной мощи, а стиль основательности буржуазии . Он привлекает эффектом стабильности и надёжности, который производит статичная массивность форм. Египетские элементы и декор используются в архитектуре промышленных и нежилых зданий, предназначенных для большого количества людей» ^[1] .

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  Египетский двор. Новый музей (Берлин), 1843—1855.

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  Масонская ложа (Бостон, Великобритания), 1860-63.

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  «Египетский дом», 1845 (Ричмонд, США)

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  Интерьер Дворца правосудия, Страсбург

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  Могила в Нэшвиле (США), 1917

В России

В России также возникает научная школа египтологии. С 1825 года в Петербурге начинает складываться египетская коллекция подлинников — при Петербургской академии наук устраивается «Египетский музеум», помещение для которого отведено на первом этаже восточного крыла Кунсткамеры . Первой древнеегипетской скульптурой, приобретённой Эрмитажем , была монументальная статуя богини Сехмет - Мут , привезённая в 1837 году. Норовым из храма богини Мут в Фивах и сначала находившаяся в Академии художеств ^[3] .

В 1840 году опубликована книга «Путешествия по Египту и Нубии в 1834—1835 гг. Авраама Норова ». Работают такие учёные, как Владимир Семёнович Голенищев , Оскар Эдуардович Лемм , Борис Александрович Тураев .

Мариус Петипа в 1862 году создал свой первый балет из нескольких действий « Дочь фараона » для царского императорского театра. Это была невероятная фантазия на египетские темы, с оживающими мумиями и ядовитыми змеями.

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  Титульный лист «Путешествия» А. Норова

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  Эрмитаж, Египетский зал

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  Картина Семирадского с этнографическо-археологической точностью к деталям древнего быта

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  Балет «Дочь Фараона». Фото с открытки начала XX века

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  Часовня Александра Невского.

памятники

• Часовня Александра Невского , 1882—1883, Москва
• Московская хоральная синагога , 1887—1891 (интерьер главного зала архитектора Р.Клейна )
• ГМИИ им. А. С. Пушкина , Москва — Египетский зал

Модерн

«В эпоху модерна и начале XX века „египетский стиль“ применяется в строительстве самых разных по назначению объектов: кинотеатров, колледжей, библиотек и музеев, заводов и фабрик, тюрем; синагог и масонских лож. Строгие, массивные, монументальные формы используются во всех областях архитектуры и интерьера. В то же время египетские цитаты придают постройкам и интерьерам оригинальность и красочность» ^[1] . Интерьеры полностью оформляются в этом стиле или используются лишь его основные элементы, в сочетании с чертами других стилей ( эклектика ).

Успешное исполнение Сарой Бернар роли царицы Клеопатры в пьесах Сарду и Шекспира , роман Анатоля Франса и опера Массне « Таис » также подогрели интерес к Египту.

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  Сара Бернар в роли Клеопатры (1893)

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  Солонка Николая II от фирмы «Фаберже», ок. 1893

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  Леон Бакст . Эскиз костюма к балету «Клеопатра», 1906.

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  Роспись на доме в Страсбурге

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  Афиша оперы «Таис», 1894

В России

Для этой эпохи декаданса , перелома веков, интерес к Египту был связан и с мировоззренческими поисками — которые связаны с мистицизмом (как это ранее было в Древнем Риме и при масонах — прежняя имперская величавость Египта оказалась уже не такой востребованной). Эти поиски видны из сочинений В. С. Соловьёва и В. В. Розанова , работ художников А. Н. Бенуа , М. Чюрлёниса («Соната пирамид») ^[1] . В 1908 году поставлен балет А. А. Аренского «Египетские ночи». В 1916 году В. Я. Брюсов издал стилизованное продолжение поэмы Пушкина «Египетские ночи». К. Д. Бальмонт в конце 1909 года посетил Египет, написав серию очерков, которые составили впоследствии книгу «Край Озириса» (1914). Египетские мотивы встречаются в зданиях Ф. О. Шехтеля .

St. Petersburg

• Дом П. А. Сальникова: стилизованные крылатые солнечные диски на фасаде дома № 135 по Лиговскому проспекту (1904). Arch. Д. Г. Фомичев
• дом на Зверинской улице , в декорировке которого переплетены египетские, месопотамские и масонские мотивы.
• Доходный дом Л. И. Нежинской ( Захарьевская ул ., 23), арх. М. Сонгайло (1911)

Moscow

• Дом Левина ( Мясницкий проезд , 3). Выполнен по мотивам ассиро-вавилонской и древнеегипетской архитектуры. Ограды балконов имеют проёмы в виде саркофагов мумий, пирамидо-подобные башенки — напоминают пирамиду Джосера, колонны входа — с хаторическими капителями — уменьшенные копии храма богини Хатхор в Дендерах. Простенки на фасаде изобилуют масками Ибисов и египетских жрецов. Возможно — напоминание о исходе евреев из Египта, ведь владелец здания, Левин был иудеем.
• дом Михайловых на Большой Дмитровке
• Стоматологический институт на Долгоруковской улице
• Ф. О. Шехтель :
  • Особняк водочного фабриканта Петра Смирнова ( Тверской бульвар , 18, стр. 1). Один из интерьеров оформлен как Египетский зал (1901 г.). Современный ресторан «Шехтель» (реконструкция 2004—2006 гг.)
  • Особняк В. Е. Морозова ( Подсосенский пер ., 21). Использованы египетские и готические мотивы.
  • Камин в особняке А. И. Дерожинской .

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  Дом Левина

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  Дом Михайловых на Большой Дмитровке

прочее

• Краеведческий музей в Красноярске (1913—1914), архитектор Л. А. Чернышёв . Наиболее полная, откровенная и цельная стилизация на египетскую тему этого времени ^[1] .

Ар деко

Открытие гробницы Тутанхамона в 1922 году вызвало всплеск египтомании . «Египетский стиль прочно укоренился в ар-деко , использовался в мебели, ювелирных украшениях, одежде, отразился на искусстве книжной иллюстрации и театральных декорациях» ^[1] . Женщины даже начали остригать волосы под египтянок.

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  Уильям Ван Аллен. Двери лифта небоскреба Крайслер-билдинг в Нью-Йорке с мотивом папируса. 1930

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  «Пифийский храм» (Нью-Йорк), 1927

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  Центральная Библиотека (Лос-Анджелес), 1926

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  Клодетт Кольбер в роли Клеопатры (1934)

В Советском Союзе

«В советскую эпоху радикально изменились идеологические задачи искусства, главной целью которого стало прославление революции, её героев и вождей. Революция представлялась событием всемирного масштаба, что неизбежно выдвинуло на первый план монументальность как стилевую доминанту . Это в первую очередь сказалось на облике Москвы. Памятники советской эпохи должны были нести идею величия и вечной памяти. Актуальность обелиска и пирамиды выступила на фоне поисков новой символики, отличной от христианской. Под революционный памятник был приспособлен обелиск („ Обелиск свободы “, 1918), который получил широкое распространение в силу простоты, лаконичности и выразительности своего образа» ^[1] . Памятник-обелиск в Александровском саду , поставленный к 300-летию дома Романовых , был переделан в честь героев революции

Мавзолей Ленина (арх. А. В. Щусев ) использует тему пирамиды как классический вариант величественного мемориала ^[1] . В том же конкурсе участвовал проект, составленный Ф. О. Шехтелем в 1924 году — он имеет вид египетской пирамиды. Более ранний Памятник Мировому страданию (1916) Ивана Шадра в виде пирамиды остался нереализованным, хотя об осуществлении проекта думали и после революции.

«Важность наследия архитектуры Древнего Египта в советскую эпоху подтверждают проекты представителя авангарда Ивана Леонидова (Проект Дворца Культуры пролетарского района, 1930) и архитектора-новатора Алексея Душкина (станция метро „ Кропоткинская “), построившего подземный „город солнца“» ^[1] . Евгений Шервинский , используя египетские темы ар-деко, создаёт интерьеры общежития в Тюфелевой роще (не сохранились).

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  Обелиск Свободы (не сохранился)

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  Памятник Мировому страданию

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  Проект Мавзолея в виде пирамиды, арх. Ф. Шехтель

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  Форзац ПСС Ленина 1935 года с изображением второго Мавзолея

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  Кропоткинская — лотосовидные колонны

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  Здание Министерства иностранных дел России : монументальный портал в египетском духе, обрамлённый обелисками-фонарями

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  Государственный дом радиовещания и звукозаписи , 1939

• Египетские мотивы // Власов, В. Г. Новый энциклопедический словарь изобразительного искусства в 10 т. Спб.: Азбука-Классика. Т. 3, 2005. С. 557—562.
• Дегтярева А., Солкин В. «Вдохновение вечностью: египетские и египтизирующие памятники в России» // «Антиквариат, предметы искусства и коллекционирования», № 6 (18) июнь 2004.
• Солкин В. В., Ларченко В. Н. «Египетский Петербург»: египетские и египтизирующие памятники на берегах Невы // Древний Египет. Сборник трудов Ассоциации по изучению Древнего Египта «МААТ». — М. : Бета-Фрейм, 2005. — Вып. I . — С. 148—161 .
• Egyptomania; Egypt in Western Art; 1730—1930 , Jean-marcel Humbert, Michael Pantazzi and Christiane Ziegler, 1994
• The Egyptian revival : its sources, monuments, and meaning, 1808—1858, Richard G. Carrott, 1978
• The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West, James Stevens Curl, 2005
• Household Furniture and Interior Decoration, Thomas Hope, 1807
• James Stevens Curl. The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifis in the West .
• Brian Curran. The Egyptian Renaissance. The Afterlife of Ancient Egypt in Early Modern Italy. University of Chicago Press, 2007
• Rudolf Wittkower. Hieroglyphics in the Early Renaissance

• Egyptian Revival in Metropolitan Museum