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woman in bandage Print

Szabo Eszter

Hungary

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About The Artwork

The mummification technique is shown in Appendix III. It reached its peak at the beginning of the transitional period, in the time of the 21st Dynasty (i.e. 1069-945), then in the III. By the end of the transition period, it had gradually deteriorated. The embalms of the 21st Dynasty tried to make the body as lively as possible, so they stuffed it. Cuts were made on the skin, and sawdust, mud and sand were placed in the dried corpse, or linen bags containing these were placed. The Rhind Magic Papyrus, written nearly 1,000 years later, records the location of these cuts. He mentions 17, of which seven are on the head, four on the chest, two on the legs, two on the arms, one on the stomach and one on the back. Most mummies have less than that. Occasionally, women's breasts are also filled, but usually not. After the body was dried and stuffed, the body was painted red, the men red and the women yellow. In women, the cheeks and mouth are reddened. In addition, the eyes were replaced by fake eyes made of stone or glass, the eyelids were lifted to create the illusion of a living gaze, but the eyes made of painted canvas were also used. Hair is styled with glamorous hairstyles, wigs and hair accessories are common. The internal organs, together with the wax or earthenware figures of the Horus boys, were put back into the body cavity in four, usually cylindrical, wrapped packages. The abdominal cut was rather vertical, usually sewn together with a metal or metal plate decorated with udat-eye. Wax rather than resin was used to seal the eyelids, ears and nose. The brain was still removed through the nose and the nails were still bandaged to prevent them from falling off. From the time of the 21st Dynasty, a body buried in Thebes (Deir el-Bahari MMA 59) uncovered the body of a young girl, Henet-taui, who, despite being wrapped in canvas and laid in beautiful coffins

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:9 W x 12 H x 0.1 D in

Size with Frame:14.25 W x 17.25 H x 1.2 D in

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Statement My topics are the connection between human and nature, and the environmental awareness inherent in folk traditions. How to strengthen the relationship between man and nature. Nature was associated with God, the universe, spiritual well-being. Folk tradition raises a child for the love of life and creatures. For the individual, knowing and following the traditions meant protection, identity consciousness, and fusion into the community. My works on human figures unfold in an illustrative, powerful style in their relationship with the environment and folk tradition. Not only the folk costumes, but also the style of the 70’s, 80’s have a big impression on my art. My name is Eszter Szabó and I was born in 1979. I finished my studies in 1997 as a decorative painter in B.D. Art School. After that I could work in my profession for a few years. When I worked in my profession, I could restaurate the frescos and walls in the biggest archives in Hungary with a respectable company.

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