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Thebes contains the finest relics o
Thebes contains the finest relics of the history, art and religion of ancient Egypt, of which it was the capital in its period of greatest splendour. Hundred of sovereigns, from pharaohs to Roman emperors, glorified the city with architecture, obelisks and sculpture. The exaltation of life found expression in the Thebes of the Living, identifiable in the fabulous site of Luxor and Karnak, on the right bank of the Nile, the site of the temples dedicated to the divine triad of Montu, Amon and Mut, while the celebration of death took shape in the Thebes of the Dead.
From the Middle Kingdom to the end of the ancient era, the city was sacred to the god Amon, the supreme Sun God: temples of incomparable splendour and size were dedicated to him. The temple of Luxor, built by Amenophis III and Ramesses II, was connected to the great sanctuary of Karnak by a long triumphal boulevard lined by sphinxes that led to its entrance, preceded by a pair of obelisks made from pink granite.
The entrance to the temple is adorned with scenes from the Syrian and Hittite military campaign and leads to the great courtyard of Ramesses II and to the chapel that served as a storehouse for the boats, dedicated to the triad of Amon, the father, Mut, the mother, represented in the form of a vulture or a lion, and Khonsu, the lunar son of the couple. The second complex, with a magnificent and immense entrance and colonnade, a courtyard, and a hall crowned with tall columns, was built at the command of Amenophis III.
About 3 km from Luxor is the monumental complex of Karnak, composed of three temples, one of which is consecrated to Mut, one to the warrior god Montu, and one to Amon. The building dedicated to the father of the gods is the product of a series of ingenious project of expansion and renovation ordered by Pharaohs eager to leave behind marvellous testimonials to their reign: the immense courtyard at the centre of which stands the enormous aedicule of Taharqa; the portico of Bubastis; the temple of Sethi II; the colossi of the pharaohs Thutmosis III and Ramesses I and II; the great hypostyle hall with 134 colossal columns; the six monumental entrances; the granite pillars and obelisk; the rooms decorated with religious and military scenes and the hall of the botanical garden; the sacred lake flanked by storehouses; the temple dedicated to the hippopotamus goddess Opet, placed on the site in which she is said to have given birth to Osiris; and finally the Southern Propylaea, four portals adorned with bas-reliefs, columns, obelisks and colossi, which adorned the sacred way that led to the Temple of Mut.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
From the Middle Kingdom to the end of the ancient era, the city was sacred to the god Amon, the supreme Sun God: temples of incomparable splendour and size were dedicated to him. The temple of Luxor, built by Amenophis III and Ramesses II, was connected to the great sanctuary of Karnak by a long triumphal boulevard lined by sphinxes that led to its entrance, preceded by a pair of obelisks made from pink granite.
The entrance to the temple is adorned with scenes from the Syrian and Hittite military campaign and leads to the great courtyard of Ramesses II and to the chapel that served as a storehouse for the boats, dedicated to the triad of Amon, the father, Mut, the mother, represented in the form of a vulture or a lion, and Khonsu, the lunar son of the couple. The second complex, with a magnificent and immense entrance and colonnade, a courtyard, and a hall crowned with tall columns, was built at the command of Amenophis III.
About 3 km from Luxor is the monumental complex of Karnak, composed of three temples, one of which is consecrated to Mut, one to the warrior god Montu, and one to Amon. The building dedicated to the father of the gods is the product of a series of ingenious project of expansion and renovation ordered by Pharaohs eager to leave behind marvellous testimonials to their reign: the immense courtyard at the centre of which stands the enormous aedicule of Taharqa; the portico of Bubastis; the temple of Sethi II; the colossi of the pharaohs Thutmosis III and Ramesses I and II; the great hypostyle hall with 134 colossal columns; the six monumental entrances; the granite pillars and obelisk; the rooms decorated with religious and military scenes and the hall of the botanical garden; the sacred lake flanked by storehouses; the temple dedicated to the hippopotamus goddess Opet, placed on the site in which she is said to have given birth to Osiris; and finally the Southern Propylaea, four portals adorned with bas-reliefs, columns, obelisks and colossi, which adorned the sacred way that led to the Temple of Mut.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
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Thebes contains the finest relics of the history, art and religion of ancient Egypt, of which it was the capital in its period of greatest splendour. Hundred of sovereigns, from pharaohs to Roman emperors, glorified the city with architecture, obelisks and sculpture. The exaltation of life found expression in the Thebes of the Living, identifiable in the fabulous site of Luxor and Karnak, on the right bank of the Nile, the site of the temples dedicated to the divine triad of Montu, Amon and Mut, while the celebration of death took shape in the Thebes of the Dead.From the Middle Kingdom to the end of the ancient era, the city was sacred to the god Amon, the supreme Sun God: temples of incomparable splendour and size were dedicated to him. The temple of Luxor, built by Amenophis III and Ramesses II, was connected to the great sanctuary of Karnak by a long triumphal boulevard lined by sphinxes that led to its entrance, preceded by a pair of obelisks made from pink granite.The entrance to the temple is adorned with scenes from the Syrian and Hittite military campaign and leads to the great courtyard of Ramesses II and to the chapel that served as a storehouse for the boats, dedicated to the triad of Amon, the father, Mut, the mother, represented in the form of a vulture or a lion, and Khonsu, the lunar son of the couple. The second complex, with a magnificent and immense entrance and colonnade, a courtyard, and a hall crowned with tall columns, was built at the command of Amenophis III.About 3 km from Luxor is the monumental complex of Karnak, composed of three temples, one of which is consecrated to Mut, one to the warrior god Montu, and one to Amon. The building dedicated to the father of the gods is the product of a series of ingenious project of expansion and renovation ordered by Pharaohs eager to leave behind marvellous testimonials to their reign: the immense courtyard at the centre of which stands the enormous aedicule of Taharqa; the portico of Bubastis; the temple of Sethi II; the colossi of the pharaohs Thutmosis III and Ramesses I and II; the great hypostyle hall with 134 colossal columns; the six monumental entrances; the granite pillars and obelisk; the rooms decorated with religious and military scenes and the hall of the botanical garden; the sacred lake flanked by storehouses; the temple dedicated to the hippopotamus goddess Opet, placed on the site in which she is said to have given birth to Osiris; and finally the Southern Propylaea, four portals adorned with bas-reliefs, columns, obelisks and colossi, which adorned the sacred way that led to the Temple of Mut.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
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Thebes contains the finest relics of the history, art and religion of ancient Egypt, of which it was the capital in its period of greatest splendour. Hundred of sovereigns, from pharaohs to Roman emperors, glorified the city with architecture, obelisks and sculpture. The exaltation of life found expression in the Thebes of the Living, identifiable in the fabulous site of Luxor and Karnak, on the right bank of the Nile, the site of the temples dedicated to the divine triad of Montu, Amon and Mut, while the celebration of death took shape in the Thebes of the Dead.
From the Middle Kingdom to the end of the ancient era, the city was sacred to the god Amon, the supreme Sun God: temples of incomparable splendour and size were dedicated to him. The temple of Luxor, built by Amenophis III and Ramesses II, was connected to the great sanctuary of Karnak by a long triumphal boulevard lined by sphinxes that led to its entrance, preceded by a pair of obelisks made from pink granite.
The entrance to the temple is adorned with scenes from the Syrian and Hittite military campaign and leads to the great courtyard of Ramesses II and to the chapel that served as a storehouse for the boats, dedicated to the triad of Amon, the father, Mut, the mother, represented in the form of a vulture or a lion, and Khonsu, the lunar son of the couple. The second complex, with a magnificent and immense entrance and colonnade, a courtyard, and a hall crowned with tall columns, was built at the command of Amenophis III.
About 3 km from Luxor is the monumental complex of Karnak, composed of three temples, one of which is consecrated to Mut, one to the warrior god Montu, and one to Amon. The building dedicated to the father of the gods is the product of a series of ingenious project of expansion and renovation ordered by Pharaohs eager to leave behind marvellous testimonials to their reign: the immense courtyard at the centre of which stands the enormous aedicule of Taharqa; the portico of Bubastis; the temple of Sethi II; the colossi of the pharaohs Thutmosis III and Ramesses I and II; the great hypostyle hall with 134 colossal columns; the six monumental entrances; the granite pillars and obelisk; the rooms decorated with religious and military scenes and the hall of the botanical garden; the sacred lake flanked by storehouses; the temple dedicated to the hippopotamus goddess Opet, placed on the site in which she is said to have given birth to Osiris; and finally the Southern Propylaea, four portals adorned with bas-reliefs, columns, obelisks and colossi, which adorned the sacred way that led to the Temple of Mut.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
From the Middle Kingdom to the end of the ancient era, the city was sacred to the god Amon, the supreme Sun God: temples of incomparable splendour and size were dedicated to him. The temple of Luxor, built by Amenophis III and Ramesses II, was connected to the great sanctuary of Karnak by a long triumphal boulevard lined by sphinxes that led to its entrance, preceded by a pair of obelisks made from pink granite.
The entrance to the temple is adorned with scenes from the Syrian and Hittite military campaign and leads to the great courtyard of Ramesses II and to the chapel that served as a storehouse for the boats, dedicated to the triad of Amon, the father, Mut, the mother, represented in the form of a vulture or a lion, and Khonsu, the lunar son of the couple. The second complex, with a magnificent and immense entrance and colonnade, a courtyard, and a hall crowned with tall columns, was built at the command of Amenophis III.
About 3 km from Luxor is the monumental complex of Karnak, composed of three temples, one of which is consecrated to Mut, one to the warrior god Montu, and one to Amon. The building dedicated to the father of the gods is the product of a series of ingenious project of expansion and renovation ordered by Pharaohs eager to leave behind marvellous testimonials to their reign: the immense courtyard at the centre of which stands the enormous aedicule of Taharqa; the portico of Bubastis; the temple of Sethi II; the colossi of the pharaohs Thutmosis III and Ramesses I and II; the great hypostyle hall with 134 colossal columns; the six monumental entrances; the granite pillars and obelisk; the rooms decorated with religious and military scenes and the hall of the botanical garden; the sacred lake flanked by storehouses; the temple dedicated to the hippopotamus goddess Opet, placed on the site in which she is said to have given birth to Osiris; and finally the Southern Propylaea, four portals adorned with bas-reliefs, columns, obelisks and colossi, which adorned the sacred way that led to the Temple of Mut.
On the opposite bank of the river there grew up over centuries the Thebes of the Dead. For almost 15 centuries, great funerary temples were built at the foot of the hills. They were entirely separate from their corresponding tombs, which were dug into the mountains, safe from violation and tomb robbers. To the north were built the Temple of Qurna al Gedida, dedicated to Amon-Re, and the temple consecrated to Hathor, the goddess of sweetness and joy who was venerated in the form of a cow. It was commissioned by Queen Hatshepsut for herself and her father Thutmosis I.
Even better known is the magnificent funerary Temple of Ramesses II, a building situated at the edge of cultivated fields which, because of its courtyards, sacraria filled with statues, decorations and colossi, was admired by many ancient writers. All that remains of the temple of Amenophis III are the colossi of Memnon, two impressive quartz monoliths that depict the pharaoh sitting on his throne, accompanied by the figures of his mother and his wife.
The tombs of the pharaohs and of their dignitaries, priests and princesses are instead hidden in the bowels of the mountains and form the great cemeteries of al-Asasif, al-Khokha, Qurnet Mura, Deir al-Medina, the Valley of the Kings and the Valley of the Queens. Among the underground tombs of the Valley of Kings, the British explorers Lord Carnarvon and Howard Carter found in 1922 a small tomb that soon became the most renowned in Egypt, that of the young Pharaoh Tutankhamun.In 1463, the captain of the Francesco Sforza troops donated a piece of land to the Dominicans. On this land there was a cloister with frescoes depicting the Madonna delle Grazie. The monks commissioned Guiniforte Solari to build a church and convent and the work began in 1463. The new Lord of Milan, Ludovico il Moro, decreed that the apse and presbytery should be knocked down to enlarge the church and he commissioned Donato Bramante to supervise the work. Bramante, who came from Urbino, structurally enlarged the church and added large semi-circular apses, a wonderful drum-shaped dome surrounded by columns and a spectacular cloister and refectory.
The fresco was commissioned in 1495 and completed in 1487. The representation by Leonardo da Vinci depicted the moment immediately after Christ said, 'One of you will betray me'. The 12 Apostles reacted in differing ways; their movements and expressions are magnificently captured in Leonardo's work. He focused on the impact of Christ's words on the Apostles and on their reactions. This broke with the traditional representation of the past, upsetting some ideas.
The genius of the artist is seen especially in the use of light and strong perspective. The three windows behind the table companions and the landscape beyond create a luminosity that set against the backlight illuminates the characters from the side as well. The result is a combination of a particular classically Florentine and chiaroscuro perspectives.
If this work is compared with others by artists such as Castagno, the differences are obvious. In the classical interpretation, Judas is depicted alone whereas the other Apostles and Jesus are on the other side of the table sitting beside each other. Leonardo rejected this and had Jesus in the midst of the Apostles; he also created four groups of three figures on either side of Christ. From the left: Bartholomew, James the Younger and Andrew who are stunned by Jesus's declaration. The second group is made up of Peter, Judas and John. Peter is leaning towards John who is seated beside Jesus and is pushing Judas forward. The figure of Judas is highlighted without isolating the others. The group on the right is made up of Matthew, Thaddeus and Simon who are involved in an animated discussion and are not looking at Jesus. In the centre and perplexedly leaning towards Jesus are Thomas, James the Elder and Phillip who are engaged assuring Jesus of their allegiance. In the centre we find the figure of Jesus in the fresco vanishing point.
Unfortunately, Leonardo did not work in oil but in tempera on a two-layered surface of plaster that was not damp-proof. It was as early as 1568 when Vasari first pointed out problems with this painting technique. Repeated conservation programmes have been carried out, the most recent over the past 20 years.
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Thebes มีพระธาตุที่ดีที่สุดของประวัติศาสตร์ ศิลปะ และศาสนาของอียิปต์โบราณ ซึ่งเคยเป็นเมืองหลวงในช่วงที่ยิ่งใหญ่ที่สุดของความงดงาม ร้อยเหรียญทอง จากฟาโรห์ กับจักรพรรดิโรมัน เกียรติเมืองที่มีสถาปัตยกรรม obelisks และประติมากรรม ใจของชีวิตพบการแสดงออกใน Thebes ของชีวิต , ระบุในเว็บไซต์ของ Karnak Luxor และเหลือเชื่อ ,บนฝั่งขวาของแม่น้ำไนล์ บริเวณวัดที่ทุ่มเทให้กับแก๊งมังกรดำอันศักดิ์สิทธิ์ของมอนตูอาโม นิด้า , และ , ในขณะที่การเฉลิมฉลองความตายเอารูปร่างใน Thebes แห่งความตาย .
จากอาณาจักรกลางถึงปลายยุคโบราณ เมืองศักดิ์สิทธิ์ที่พระเจ้าอาโมน พระอาทิตย์พระเจ้า : วัดงดงามหาที่เปรียบมิได้และขนาดได้ทุ่มเทเพื่อเขา วัด Luxorสร้างโดยมโนฟิส III และฟาโรห์รามเสสที่สอง ถูกเชื่อมต่อกับวิหารคาร์นัก โดยมากยาวเรียงรายไปตามถนนมีชัยสฟิงค์ ที่นำของเข้า นำโดยคู่ของ obelisks ทำมาจากหินแกรนิตสีชมพู
ทางเข้าวิหารประดับด้วยฉากจากซีเรียและทหารฮิตไทต์และรณรงค์ไปสู่ลานใหญ่ของฟาโรห์รามเสสที่สองและโบสถ์ที่ทำหน้าที่เป็นคลังสำหรับเรือที่ทุ่มเทให้กับแก๊งของอาโมน พ่อ แต่ แม่ แสดงในรูปแบบของแร้ง หรือสิงโต และ คอนซู ลูกชายดวงจันทร์ของคู่รัก ที่ที่สองกับสวยงามและเวิ้งว้าง ทางเข้าและระเบียง , สวนและศาลาปราบดาภิเษกกับเสาสูง , ถูกสร้างขึ้นในคำสั่งของมโนฟิส 3
3 กิโลเมตรจาก Luxor เป็นซับซ้อนอนุสาวรีย์ของ Karnak , ประกอบด้วยสามวัด ซึ่งหนึ่งในนั้นคือ อนุสรณ์สถาน มุต หนึ่งในนักรบพระเจ้ามอนตู และหนึ่งอาโมนอาคารที่ทุ่มเทให้กับพระบิดาของพระเจ้าเป็นผลิตภัณฑ์ของชุดของความคิดสร้างสรรค์และการขยายตัวของโครงการปรับปรุงคำสั่งจากฟาโรห์อยากทิ้งตรารับรองครอบครองของพวกเขา : ลานอันยิ่งใหญ่ที่ศูนย์ซึ่งย่อมาจาก aedicule มหาศาลของทาฮาร์คา ; หน้ามุขของบูบาสติส ; วัดเศรษฐี 2 ;colossi ของฟาโรห์ทุตโมซิสที่ 3 และฟาโรห์แรเมซีสที่ I และ II ; hypostyle ห้องโถงที่มีคอลัมน์มหึมา 134 ; 6 อนุสาวรีย์ทางเข้า ; เสาและแท่งหินแกรนิต ห้องพักตกแต่งด้วยฉากและศาสนาทหารและห้องโถงของสวนพฤกษศาสตร์ ; ทะเลสาบศักดิ์สิทธิ์ ขนาบข้างด้วยคลัง วัดที่ทุ่มเทให้กับเทพธิดาอีกครั้งฮิปโปโป ,
จากอาณาจักรกลางถึงปลายยุคโบราณ เมืองศักดิ์สิทธิ์ที่พระเจ้าอาโมน พระอาทิตย์พระเจ้า : วัดงดงามหาที่เปรียบมิได้และขนาดได้ทุ่มเทเพื่อเขา วัด Luxorสร้างโดยมโนฟิส III และฟาโรห์รามเสสที่สอง ถูกเชื่อมต่อกับวิหารคาร์นัก โดยมากยาวเรียงรายไปตามถนนมีชัยสฟิงค์ ที่นำของเข้า นำโดยคู่ของ obelisks ทำมาจากหินแกรนิตสีชมพู
ทางเข้าวิหารประดับด้วยฉากจากซีเรียและทหารฮิตไทต์และรณรงค์ไปสู่ลานใหญ่ของฟาโรห์รามเสสที่สองและโบสถ์ที่ทำหน้าที่เป็นคลังสำหรับเรือที่ทุ่มเทให้กับแก๊งของอาโมน พ่อ แต่ แม่ แสดงในรูปแบบของแร้ง หรือสิงโต และ คอนซู ลูกชายดวงจันทร์ของคู่รัก ที่ที่สองกับสวยงามและเวิ้งว้าง ทางเข้าและระเบียง , สวนและศาลาปราบดาภิเษกกับเสาสูง , ถูกสร้างขึ้นในคำสั่งของมโนฟิส 3
3 กิโลเมตรจาก Luxor เป็นซับซ้อนอนุสาวรีย์ของ Karnak , ประกอบด้วยสามวัด ซึ่งหนึ่งในนั้นคือ อนุสรณ์สถาน มุต หนึ่งในนักรบพระเจ้ามอนตู และหนึ่งอาโมนอาคารที่ทุ่มเทให้กับพระบิดาของพระเจ้าเป็นผลิตภัณฑ์ของชุดของความคิดสร้างสรรค์และการขยายตัวของโครงการปรับปรุงคำสั่งจากฟาโรห์อยากทิ้งตรารับรองครอบครองของพวกเขา : ลานอันยิ่งใหญ่ที่ศูนย์ซึ่งย่อมาจาก aedicule มหาศาลของทาฮาร์คา ; หน้ามุขของบูบาสติส ; วัดเศรษฐี 2 ;colossi ของฟาโรห์ทุตโมซิสที่ 3 และฟาโรห์แรเมซีสที่ I และ II ; hypostyle ห้องโถงที่มีคอลัมน์มหึมา 134 ; 6 อนุสาวรีย์ทางเข้า ; เสาและแท่งหินแกรนิต ห้องพักตกแต่งด้วยฉากและศาสนาทหารและห้องโถงของสวนพฤกษศาสตร์ ; ทะเลสาบศักดิ์สิทธิ์ ขนาบข้างด้วยคลัง วัดที่ทุ่มเทให้กับเทพธิดาอีกครั้งฮิปโปโป ,
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