Item description for The Human Beings Are Awoken, You Have Set Them Upright. Body Structure and Conception of Man in Ancient Egyptian Art and the Present Day by Hans Georg Brecklinghaus...
Ancient Egyptian art is often exclusively regarded as historical evidence of a former culture. A new viewpoint is presented in this book: the sculptures and bas-images of this culture (which lasted for 3000 years) are examined with respect to posture and body structure.
Through examples and by comparison with other advanced civilizations, the author illustrates how ancient Egyptian portrayals of man demonstrate well integrated body structure which also imply economic movement patterns.
The artists and craftsmen in ancient Egypt were not only inspired by examples from everyday life but especially by this old culture's conception of life and of man.
It is made apparent that these two aspects of ancient Egyptian art, exemplary movement and a specific spiritual view of life, can be of value for present day man.
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Reviews - What do customers think about The Human Beings Are Awoken, You Have Set Them Upright. Body Structure and Conception of Man in Ancient Egyptian Art and the Present Day?
A magnificent book Apr 10, 2003
It is hard to describe this book with a few sentences, because it covers a lot of themes: the role of art in Ancient Egypt, the reasons for the special style of representing humans in this old culture, the bodyuse in Egypt's daily life, the religious background of fine art and so forth. Apparently the author, a longtime practitioner of the Rolfing-method of Structural Integration of the human body, started his research with one discovery and a question emerging out of this discovery. The discovery is: The represented postures of humans in Ancient Egyptian art are in congruence with the vision of structural balance and free movement which Rolfing (and other forms of modern somatic therapy/education) holds. The question is: Did the Egyptians had these values too (4000 years ago!)? The author says "yes" and proves this statement by covering all areas which I mentioned above. Comparing the art of Ancient Egypt with the art of Ancient Greece (and other cultures) the author makes clear, that the self-understanding of the bodily being is different in different cultures and leads to different ways of representing the human body in fine art. This book is not only fascinating for people interested in history (of art) or in Ancient Egypt but also for people who see art as one way to understand oneself. Bridging the old days of Egypt with our modern times the author reveals the meaning of a balanced body structure for the human being consisting of body-soul-spirit. From this point of view the reception of Ancient Egyptian art can be a surprisingly modern self-experience if one is able to feel the somatic qualities of the represented people in oneself. Seldomly enough, authors - being engaged in a specialized field - are able bo connect various aspects of life and science. Hans Georg Brecklinghaus mastered this difficult task in an excellent way.