posted
I heard on this site that the color brown/reddish brown denoted strength/masculine and was used for the women in Egyptian paintings in the new kingdom and that yellow was the color used to denote weakness used for the women.
The problem I have with this is that I am seeing many paintings on this forum of women painted brown/reddish brown. So how does this yellow = women still stand?!?
May I get some support for the symbolism of Egyptian colors used in their paintings?
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posted
Uniform yellow hue of women vs. uniform brown color convention of men [in the same painting] is clearly symbolic, whatever that symbolism may be. This is rarely reproduced in small figurines of ordinary working Kemetic folks, which often attempt to relay a sense of realism in them.
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posted
ooh ok so you are saying that yellow women are in paintings only when brown colored men are there, but if there are all women in the painting they could all be brown? What about the Kemsit picture where she is black and the other women are yellow? What does that mean?
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posted
So how do we determine whether a yellow skinned woman is asiatic or a symbolic Egyptian woman?
lol as soon as I try accepting Egyptians as being black there is always some rod thrown in the mix sheesh lol
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posted
The black color of certain women at certain periods was often symbolic in a POSITIVE sense. It symbolized power as well as origins from the South. Women painted yellow was most often symbolic and it does not mean that one was asiatic and the other African necessarily. Color in Egyptian artwork was often governed by more than one convention of symbolism and artistic liscense. Sometimes color was used to break up the overall scene and introduce contrast in an artistic manner, much like the black and white colors of the figures on Vases and frescoes from ancient Greek art, which derives from the artistic conventions of Egyptian art. Everything cannot be interpereted LITERALLY.
quote:Originally posted by Nice Vidadavida [So how do we determine whether a yellow skinned woman is asiatic or a symbolic Egyptian woman?
Kemsit and Mentuhotep are identified as Kemetic royales.
The long haired servants differ in hairstyle - unless they are wearing wigs, which would be odd given the context of the painting.
Kemsit meanwhile has and Afro - that is not symbolic. Thus the difference shown is ethnic.
The same is the case in the Book of Gates iconography.
In this iconography everyone is dead, and awaiting resurrection..... but the Km.t and Nhsy are still dark, and the Ammu/Tamehu are light.
^ Thus the skin color differences shown above are ethnic.
As for the differences between men and women, the lighter colors associated with women and darker with men also reflect the biological fact that men tend to be darker than women.
One of the reasons for this, is possibly that testosterone - male hormone - aids in protein synthesis. Melanin is a protein.
I agree that it's not -simple- in the sense of being able to use a single rule to determine what color means in all iconography all time.
But *this is just as true for so called symbolism* as for so called literalism.
Anyone using -simple- rules is oversimplifying and it will be easy to produce evidence that contradicts any rule, such as Kemetic females shown as being pitch-black in skin color when they are clearly *not Gods*, and not dead.
By the way - some symbolic explanations simply exploit tautologies.
For example:
* If a dark skinned women is not identified as Kemetic royale, then simply call her Nubian - which is meaningless since virtually no Kemetian is called this, but that doesn't stop *scholars* from using this apologetic.
** If a dark skinned women is identified as Kemetic royale - then she is powerful, so now you can claim her dark skinned *symbolises* power.
But neither explanation makes sense, for reasons noted above.
Symbolism also can't be taken literally ie - the notion that a given color universally symbolises power, symbolises afterlife, symbolises death, symbolises resurrection, symbolises fertility, symbolises strength, symbolises weakness, is so revealed as simplistic and easy falsiied because it leads to such internal inconsistencies.
[ie - how come the dead asiatics in the book of gates iconography - are never any darker - in spite of being dead?
- how come Ramses is shown as darker than yellowish Asiatics but lighter than blue/black Kushites?]
Each artificat must be examined both in context and in and of itself.
If this isn't very easy, well....too bad, it just isn't.
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Uniform yellow hue of women vs. uniform brown color convention of men [in the same painting] is clearly symbolic, whatever that symbolism may be.This is rarely reproduced in small figurines of ordinary working Kemetic folks, which often attempt to relay a sense of realism in them.Posts: 1947 | Registered: Sep 2005
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posted
Do you have a book or a website from authority on the subject of Egyptian colors? I think I will need to read this to better understand and trust the arbitration of color usage in Egyptian iconography
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quote:Originally posted by Doug M: The black color of certain women at certain periods was often symbolic in a POSITIVE sense. It symbolized power as well as origins from the South. Women painted yellow was most often symbolic and it does not mean that one was asiatic and the other African necessarily. Color in Egyptian artwork was often governed by more than one convention of symbolism and artistic liscense. Sometimes color was used to break up the overall scene and introduce contrast in an artistic manner, much like the black and white colors of the figures on Vases and frescoes from ancient Greek art, which derives from the artistic conventions of Egyptian art. Everything cannot be interpereted LITERALLY.
So is it possible that in this particular picture the yellow women= young woman compared to the others?
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quote:Originally posted by Nice Vidadavida *sigh*: So is it possible that in this particular picture the yellow women= young woman compared to the others?
Honestly, I dont know. Egyptian art had a lot of symbolism that is based on conventions and a canon that stayed relatively consistent throughout 3,000 years of history. There were many reasons for the colors in Egyptian art and all colors cannot be interpereted literally. Even the brown colored men or women did not necessarily represent the ACTUAL color of people in real life. Many of the workmen and other figures in tombs were purely FICTITIONAL figures to begin with and did not portray any ACTUAL people. The ONLY people that may have been actually portrayed in any particular tomb would have been the tomb owner and his family, but even then within the stylistic conventions of the Egyptian canon.
Many images are generalized because they were produced assembly line fashion. This means that workers were not always trying to be hyperealistic. One outlined the grids for the various panels, another did the base colors and a final crew did the outlines. The crews mixed the colors which formed the pallette for the particular tomb and used those colors until they ran out and these palettes often varied based on materials used or the way they were combined. They often never really varied the colors of human figures to attempt to reflect ACTUAL variation in skin complexion and just filled in all figures the same, males brown and women yellow. Then the line men came and did the outlines, with the outlines for most of the figures being pretty much identical to each other, where the only differences between any two figures were dress, color and hairstyle. This is seen quite often in Egyptian art.
Egyptian art was not like the art of the Greeks where inividual artists spent time producing elaborately detailed INDIVIDUAL figures or scenes. Egyptian art was massive, meaning a tomb or temple could contain HUNDREDS if not THOUSANDS of images of people, dieties and animals and therefore was optimized for efficiency in mass production, if not necessarily accuracy. Compare that to Greece or Rome where, notwithstanding the detail and accuracy, we have very FEW images of any sort, sculpures or paintings, left for us to see. In fact, one well preserved tomb from Egypt may have MORE images than everything left to us from Greece and Rome. So once you understand the framework for the way MOST of the images we see from Egypt were produced, you will understand and be able to read the patterns of style and color as being part of a larger framework of artistic convention that varied based on the crews doing the work, the lead artist and the stylistic conventions of any given time.
But face facts, this is just TOMB art and TEMPLE art that we are mostly talking about. We are not talking about the art produced in private for truly ARTISTIC purposes as most of that art has NOT survived. Most of what we see has survived because it was DESIGNED to last for eternity even if it wasnt the most accurate art work ever produced.
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posted
I tend to believe (with not much conviction though) that the dark/fair convention was the result of a pan-human conception of darkness and fairness being respectively associated with manhood and feminity as illustrated by many different ancient paintings from all around the world (Sahara, Greece, Rome, Mesoamerica, Japan, China, East India, etc.). A few Roman examples:
posted
I've also noticed that every pic of a Napatean royal women I've seen depicts her in red, i.e. the same complexion of Kings: Queen Qalhata, mother of King Tanwetamani : King Taharqa and his wife Dikahatamani:
I also remember reading from an Assyrian royal text I forgot the name that Taharqa's relatives were referred as being as "black as asphalt". So what I get from the data I've seen so far is that Kushites borrowed Egyptian color symbolism and adapted it to their kingship, the royal women having a equal status to men at the time of the Napata period already (cf. Babacar SALL).
Maybe this, as well as only old fat male individuals in the OK kingdom being painted in yellow would indicate that the red/yellow dichotomy had a value originally associated with manhood/feminity that also evolved into a more abstract activeness/softness symbolism.
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quote:Originally posted by Please call me MIDOGBE: I tend to believe (with not much conviction though) that the dark/fair convention was the result of a pan-human conception of darkness and fairness being respectively associated with manhood and feminity as illustrated by many different ancient paintings from all around the world (Sahara, Greece, Rome, Mesoamerica, Japan, China, East India, etc.). A few Roman examples:
Actually those portaits are an example of mixed ethnic references with a blatantly African Hercules and cherubs along with European women. This is more of a reference to the ancient hunter of Africa, who became part of the mythology of Hercules and also partly comes from the myths of Horus, Isis and Set.
And I want you to look carefully at this larger version of the image and note how everything seems to point or look at a curious activity in one part. Posts: 8889 | Registered: May 2005
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posted
^^ Sorry I am not sure I get your point. Do you claim that Hercules and Mars were painted as dark-skinned because they were Africans?
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posted
Of course it's quite universal where males go out and about and females stay in and shaded for the former to be very noticeably darker than the latter.
But noting the palm of Hercules in this particular fresco, his colouring may indeed his partial African ancestry as per Greek mythology. On Greek pottery, Herakles sometimes displays a phenotype reminiscent of an African.
Can someone post the pot where Herakles is battling the Egyptian priest Busirus' men from Snowden? Myra?
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Of course it's quite universal where males go out and about and females stay in and shaded for the former to be very noticeably darker than the latter.
This explanation doesn't fly, when one considers situations like this:
quote:
People like Amr1 think that 'all' Kemetian art were 'symbolic', while at the same time, contradicting themselves with the notion that the "yellow" coloration of Women in paintings is actually due to their being indoors. The rational here is that, these women weren't exposed to the heat, and hence, were able to retain their 'light' skin tone, while their male mates were still 'brown' in tone....
Then you have depictions, showing the commoners working or engaged in some activity(s). When the depictions show women and men in the same tones, and in varying degrees, again, it is an indicator of the artist's attempt at expressing 'realistic' imagery. Good examples of this can be seen particularly in figurines, like this:
All depictions, show women and men working both 'indoors' and 'outdoors'.
*As a courtesy, oversized pictures are best left as links.
posted
I agree that evidence doesn't point towards a complexion differentiation due to sun exposition in Egypt since most "female jobs" could be done outdoors like many "male" jobs could be performed indoors. I think the difference of complexion in Pompei art can hardly be explained by ethnic difference since this opposition is regularly found in this art with the same male (non African TMK)/female distribution: http://www.art-and-archaeology.com/roman/pom1.htmlPosts: 307 | Registered: Oct 2005
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posted
It is true that Greco-Roman paintings depict women in lighter complexions and men in darker, but the theory of men being tanned and women not is best applied to them since women in Greco-Roman societies were pretty much confined to the homes, whereas Egyptian women spent about as much time outdoors as men.
Posts: 26238 | From: Atlanta, Georgia, USA | Registered: Feb 2005
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posted
American scholar Catherine CHEAL pointed out that the dark/fair convention in Ancient Greece had little to do with reality since the convention was applied at a time where women were less enclosed in the home than at the time where both men & women are depicted with the same skin tone.
quote:Originally posted by Djehuti: It is true that Greco-Roman paintings depict women in lighter complexions and men in darker, but the theory of men being tanned and women not is best applied to them since women in Greco-Roman societies were pretty much confined to the homes, whereas Egyptian women spent about as much time outdoors as men.
posted
Egyptian color conventions were obviously conventions and therefore not necessarily 100% true to life, especially in regards to skin color. Working outdoors or being indoors had nothing to do with it:
Interestingly enough no matter what color conventions the Egyptians used, modern reconstructions NEVER get it right. Most often these conventions allow them to make up fantasy stories with French, Brazilian and Iranian actors as opposed to Egyptians.....
It is especially funny how they feel the need to cast foreigners as Egyptians over and above locals, especially locals from Upper Egypt.
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quote:Originally posted by Doug M: Egyptian color conventions were obviously conventions and therefore not necessarily 100% true to life, especially in regards to skin color.
^ Agreed, though there is clear implied logic in a methodology in which Rm.t and Nshy are shown as darker and referred to as Blacks [km.t.nw.t], Asiatics and Magrehbi are shown as lighter as classed as reds [dshr.t].
And furthermore, nshy [southerners] are generally darker still than rm.t, Osirus and Isis are deemed of southernn origin and symbolically shown typically as Black skinned, and women are typically shown as lighter than men.
All of these symbolisms are rooted in realities, which may be simplified or exagerrated but nontheless speak directly to facts.
quote:Interestingly enough no matter what color conventions the Egyptians used, modern reconstructions NEVER get it right.
Eurocentrists get it right in terms of their own motivations which is - racial-megalomania, which requires some form of twisted conception that allows Europeans to see Ancient Egypt as a European society.
The interesting aspect of this fallacy is that it is never *directly* defended by European scholars, because it is patently ludicrous....however, nor do they ever speak out against or criticise the ws.t's racist delusions of grandeur masquerading as history, because they in effect tacitly encourage it.
After all this is the pseudo-scholarship culture that manufactured something called "the greek miracle", and anti-scientific -non answer- which exists soley to deny scientific proof of Greece's *non-miraculous* derivation from earlier Nile Valley and Mesopotamian cultures. Yet this illogical race mythology remains a stable of the ws.t education-as-propaganda discourse. Posts: 15202 | Registered: Jun 2004
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Caeretan black-figure hydria, Late Archaic Greek, c. 510 B.C. Vienna Kunsthistorisches Museum, ANSA IV 3576.
Drawing: A. Furtwangler und K. Reichhold, Griechische Vasenmalerei; Auswahl hervorragender Vasenbilder (Miinchen, 1904), PI. 51.
Busiris was a legendary king in the Delta who, according to a Greek tradition, habitually slaughtered foreigners entering his country and sacrificed them to Zeus, until he vainly tried to do this to Heracles. The vase shows Heracles destroying Busiris and his priests. Various details refer to the customs and clothing of Egypt with remarkable precision.
A group of Egyptians hastens to come to the aid of the king, shown on the back of the vase. They have the usual equipment of Egyptian guards.
By Samuel David Ewing
This art reveals the Greek Herakles as an enormously muscled black African giant who is crushing evildoers beneath his feet, strangling and breaking the necks of evildoers with his barehands, as well as by trapping their throats between his elbow and bicep region, in his left hand he is holding a man in the air by his left ankle using the super-human might of his left arm, and finally the rest of the evildoers are fleeing from the Greek Herakles in terror. The story has to do with Herakles putting a stop to human sacrifices which were instituted by an evil group of cultist under the direction of King Busiris of Egypt. Heracles allowed them to attempt to use him as a sacrifice, then at the right moment he broke his bonds, slaying 1000 cultists including the king. The story resembles that told of Samson. The point to be emphasized here is that the Greek Herakles was originally thought of as a black man by the ancient Greek peoples before his features were altered by the later Eurocentric influence centuries later.
The Greek Heracles as a black man on this hydria is shown slaying black men (Egyptians ) who have features like himself, such as black skin, flat nose, flaring nostrils, large lips, and the wooly textured hair of Hamites. This same Herakles is also shown slaying fair skinned Greeks, and Europeans, the difference between these opponents and Herakles the black man leaves know room for doubt concerning who is of what race.
Martin Bernall, author of Black Athena, vol. 1, pages 476- 477 has this to say about this particular hydria; ". . . . . While both point out that Bousiris has black attendants and that Bousiris himself is portrayed as one on another vase, neither Boardman nor Snowden (1970, p.159 ) mentions the fact that the 'Greek hero Herakles' is depicted as a curly-haired African Black. This is something that the Aryan Model is completely unable to handle. I would like to add that I have seen photo-prints of this vase myself therefore I know Martin Bernall is telling the truth! Finally apparently it isn't mentioned that an equal amount of Bousiris' attendants on this vase are obviously European. [Source]
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This art reveals the Greek Herakles as an enormously muscled black African giant who is crushing evildoers beneath his feet, strangling and breaking the necks of evildoers with his barehands, as well as by trapping their throats between his elbow and bicep region, in his left hand he is holding a man in the air by his left ankle using the super-human might of his left arm, and finally the rest of the evildoers are fleeing from the Greek Herakles in terror...
posted
^^I understand, however the point being made is that they went 6,000 miles or so away from Egypt to find someone to play Nefertari as if NOBODY in Egypt could fit the bill, light skinned or otherwise. Brazilians are not Egyptians. Likewise, they went to Europe as if that is the only place that they could find someone to represent an Egyptian pharoah. This only makes sense if it is for the purposes of creating a piece of ENTERTAINMENT, but as something supposedly HISTORICALLY ACCURATE, it is obviously distortion. In fact, it is not even about entertainment, as opposed to the Eurocentric fantasy of what constitutes beauty and grace, which means European actors and mixed European models. This has NOTHING to do with what the AE actually looked like. The AE did not look like Europeans or Brazilians and there are plenty of Egyptians, especially those from UPPER EGYPT, who would be the MOST AUTHENTIC people to play Egyptians.
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posted
Thanks Myra! That's just the one I was asking for and this repro is more emphatic than the photo of the actual vase in Frank M. Snowden, Jr. Iconographical Evidence on the Black Populations in Greco-Roman Antiquity in Ladislas Bugner (gen. ed. The Image of the Black in Western Art Vol. 1, from the Pharaohs to the Fall of the Roman Empire Cambridge, Mass: Harvard University Press (dist.), 1976 p. 140 figs 150&151
The ironic thing is that here Snowden leaves Herakles partial "Africanity" unnoticed as done elsewhere with other personalities. Perhaps he feared to bring such notice up in writing but at least he brought the image to our eyes.
If you can expand what you began on NAs in Crete by scanning and posting figs 142, 147, 203, & 204, of what I take to be NAs, in one of the "Libyan" threads I'd be much obliged.
quote:Originally posted by Myra Wysinger: Heracles and Busiris King of the Delta
Caeretan black-figure hydria, Late Archaic Greek, c. 510 B.C. Vienna Kunsthistorisches Museum, ANSA IV 3576.
Drawing: A. Furtwangler und K. Reichhold, Griechische Vasenmalerei; Auswahl hervorragender Vasenbilder (Miinchen, 1904), PI. 51.
By Samuel David Ewing
This art reveals the Greek Herakles as an enormously muscled black African giant ...
The Greek Heracles as a black man on this hydria is shown slaying black men (Egyptians ) who have features like himself, such as black skin, flat nose, flaring nostrils, large lips, and [] wooly textured hair [Source]
.
Posts: 8014 | From: the Tekrur in the Western Sahel | Registered: Feb 2006
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quote:Originally posted by alTakruri: If you can expand what you began on NAs in Crete by scanning and posting figs 142, 147, 203, & 204, of what I take to be NAs, in one of the "Libyan" threads I'd be much obliged.
I can't find that thread. The figures you listed is in what book? Thanks
.
Posts: 1549 | From: California, USA | Registered: Jan 2006
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posted
The Image of the Black in Western Art , vol. 1, from the Pharaohs to the Fall of the Roman Empire, Cambridge, Mass: Harvard University Press, 1976
Fig. 142
Fig. 147
Fig. 203
Fig. 204
.
Posts: 1549 | From: California, USA | Registered: Jan 2006
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quote:Originally posted by Myra Wysinger: Heracles and Busiris King of the Delta
Caeretan black-figure hydria, Late Archaic Greek, c. 510 B.C. Vienna Kunsthistorisches Museum, ANSA IV 3576.
Drawing: A. Furtwangler und K. Reichhold, Griechische Vasenmalerei; Auswahl hervorragender Vasenbilder (Miinchen, 1904), PI. 51.
Busiris was a legendary king in the Delta who, according to a Greek tradition, habitually slaughtered foreigners entering his country and sacrificed them to Zeus, until he vainly tried to do this to Heracles. The vase shows Heracles destroying Busiris and his priests. Various details refer to the customs and clothing of Egypt with remarkable precision.
A group of Egyptians hastens to come to the aid of the king, shown on the back of the vase. They have the usual equipment of Egyptian guards.
By Samuel David Ewing
This art reveals the Greek Herakles as an enormously muscled black African giant who is crushing evildoers beneath his feet, strangling and breaking the necks of evildoers with his barehands, as well as by trapping their throats between his elbow and bicep region, in his left hand he is holding a man in the air by his left ankle using the super-human might of his left arm, and finally the rest of the evildoers are fleeing from the Greek Herakles in terror. The story has to do with Herakles putting a stop to human sacrifices which were instituted by an evil group of cultist under the direction of King Busiris of Egypt. Heracles allowed them to attempt to use him as a sacrifice, then at the right moment he broke his bonds, slaying 1000 cultists including the king. The story resembles that told of Samson. The point to be emphasized here is that the Greek Herakles was originally thought of as a black man by the ancient Greek peoples before his features were altered by the later Eurocentric influence centuries later.
The Greek Heracles as a black man on this hydria is shown slaying black men (Egyptians ) who have features like himself, such as black skin, flat nose, flaring nostrils, large lips, and the wooly textured hair of Hamites. This same Herakles is also shown slaying fair skinned Greeks, and Europeans, the difference between these opponents and Herakles the black man leaves know room for doubt concerning who is of what race.
Martin Bernall, author of Black Athena, vol. 1, pages 476- 477 has this to say about this particular hydria; ". . . . . While both point out that Bousiris has black attendants and that Bousiris himself is portrayed as one on another vase, neither Boardman nor Snowden (1970, p.159 ) mentions the fact that the 'Greek hero Herakles' is depicted as a curly-haired African Black. This is something that the Aryan Model is completely unable to handle. I would like to add that I have seen photo-prints of this vase myself therefore I know Martin Bernall is telling the truth! Finally apparently it isn't mentioned that an equal amount of Bousiris' attendants on this vase are obviously European. [Source]
.
Whoa Whoa..if the people dressed in white are Egyptians those are not black people..what is up with this?!? Posts: 336 | Registered: Apr 2007
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quote:Originally posted by rasol: ^ I don't understand the question?
She's referring to the individuals that Herakles/Hercules is punishing, portrayed in a mix of 'black' hue and 'light' brown hue. Her point seems to be that if those individuals were Egyptians, then this should be indicative of ancient Egyptians not being 'black'.
Posts: 1947 | Registered: Sep 2005
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quote:Originally posted by rasol: ^ I don't understand the question?
She's referring to the individuals that Herakles/Hercules is punishing, portrayed in a mix of 'black' hue and 'light' brown hue. Her point seems to be that if those individuals were Egyptians, then this should be indicative of ancient Egyptians not being 'black'.
You are you telling me these people look black to you? There is no wrong answer to this question by the way.
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quote:Originally posted by Nice Vidadavida *sigh*:
quote:Originally posted by Mystery Solver:
quote:Originally posted by rasol: ^ I don't understand the question?
She's referring to the individuals that Herakles/Hercules is punishing, portrayed in a mix of 'black' hue and 'light' brown hue. Her point seems to be that if those individuals were Egyptians, then this should be indicative of ancient Egyptians not being 'black'.
You are you telling me these people look black to you?
Wherein you cited me, have I told 'you' anything?
quote:Nice Vidadavida *sigh*:
There is no wrong answer to this question by the way.
In fact, I don't remotely understand your respond to my post, enough to even begin answering it.
Posts: 1947 | Registered: Sep 2005
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^ IIRC, I've seen another version of this image in which Hercules is given medium brown as opposed to black skin. The Egyptians still had black skin though.
Are there any other ancient Greek depictions of ancient Egyptians? The only other image I know of is this:
Closeup:
Posts: 7069 | From: Fallbrook, CA | Registered: Mar 2004
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quote:Originally posted by Nice Vidadavida You are you telling me these people look black to you? There is no wrong answer to this question by the way.
You are pretending to not know that the Greeks considered the ancient Egyptians to be Black?
Are you saying that these people are not Black?
There is no "wrong" answer by the way, but there is the usual passive-aggressive trolls response of a *non answer*. Posts: 15202 | Registered: Jun 2004
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quote:Originally posted by rasol: ^ I don't understand the question?
She's referring to the individuals that Herakles/Hercules is punishing, portrayed in a mix of 'black' hue and 'light' brown hue. Her point seems to be that if those individuals were Egyptians, then this should be indicative of ancient Egyptians not being 'black'.
One supposes such passive aggressive trolling is meant to deflect attention from what is actually denoted......
The Greek Heracles as a black man on this hydria is shown slaying black men (Egyptians ) who have features like himself, such as black skin, flat nose, flaring nostrils, large lips, and the wooly textured hair of HamitesPosts: 15202 | Registered: Jun 2004
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One supposes such passive aggressive trolling is meant to deflect attention from what is actually denoted......
The Greek Heracles as a black man on this hydria is shown slaying black men (Egyptians ) who have features like himself, such as black skin, flat nose, flaring nostrils, large lips, and the wooly textured hair of Hamites
Not to deflect attention away from the intended significance of the citation, but man, LOL @ "flaring nostrils" and the like. Is this the sort of description 'black men' should be reduced to?
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posted
There is a pic of a painted vase depicting "Amasis" by a Greek painter by the name of Exekias in a French version of J.BOARDMAN's book about black-figured Greek vases.
quote:Originally posted by Tyrannosaurus:
^ IIRC, I've seen another version of this image in which Hercules is given medium brown as opposed to black skin. The Egyptians still had black skin though.
Are there any other ancient Greek depictions of ancient Egyptians? The only other image I know of is this:
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