14 Works, The Art of War, Rembrandt Harmenszoon van Rijn's Alma's Five reincarnations, with footnotes

After Rembrandt Harmenszoon van Rijn
Ottoman Empire Armor

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Ottoman Empire Armor

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Ottoman Empire Armor

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1) "Alma's Triumph: Ottoman Empire Armor"

In this painting, Alma is depicted in a Rembrandt-style portrait, dressed in intricate Ottoman Empire armor. The dark hues of her hair blend with the warm desert colors in the background. The complex flowing arabesque shapes and elaborate costumes create an aura of opulence and power, while Alma's piercing eyes and sensual pose convey her warrior spirit. Riding her Arabian stallion, she charges fearlessly towards the enemy.

After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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2) "Alma's Valor: Mamluk Warrior Armor"

This painting portrays Alma in a Rembrandt-inspired style, adorned in traditional Mamluk warrior armor from the Middle Ages. The use of dark, earthy tones and intricate arabesque motifs creates a sense of mystery and intensity. Alma's passionate gaze and sensual pose reflect her unwavering courage and determination. With her Arabian stallion, she charges through the battlefield, defying the enemy with her sheer bravery.

After Rembrandt Harmenszoon van Rijn

Persian Safavid Armor

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After Rembrandt Harmenszoon van Rijn
Persian Safavid Armor

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Persian Safavid Armor

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3) "Alma's Legacy: Persian Safavid Armor"

In this Rembrandt-styled painting, Alma is depicted wearing Persian Safavid armor, richly decorated with complex flowing arabesque patterns. The desert colors harmonize with Alma's dark red hair, adding depth to the composition. Her piercing eyes and commanding pose exude confidence and strength. Riding her Arabian stallion, she charges into battle, embodying the legacy and power of the Persian Empire.

After Rembrandt Harmenszoon van Rijn

Egyptian Pharaoh Warrior

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Egyptian Pharaoh Warrior

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Egyptian Pharaoh Warrior

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4) "Alma's Rebellion: Egyptian Pharaoh Warrior Armor"

This Rembrandt-inspired painting showcases Alma dressed in regal Egyptian Pharaoh warrior armor. The use of dark tones and intricate arabesque shapes creates a captivating atmosphere. Alma's piercing eyes and sensual pose depict her fierce determination and rebellion against the norms. Her Arabian stallion charges through the enemy lines, as Alma boldly asserts her power and challenges the status quo.

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Arabian Peninsula Bedouin Armor

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Arabian Peninsula Bedouin Armor

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5) "Alma's Conquest: Arabian Peninsula Bedouin Armor"

In this Rembrandt-style painting, Alma is depicted in traditional Arabian Peninsula Bedouin armor, adorned with intricate arabesque patterns and desert colors. The use of lighting and shadow adds depth and drama to the composition. Alma's captivating gaze and sensual pose convey her unwavering commitment to the battlefield. Riding her Arabian stallion, she charges towards the enemy, leaving a path of conquest and asserting her dominance.

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.

 

Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified most notably in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

 

In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization." More on Rembrandt Harmenszoon van Rijn

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05 Works, The Art of War, Pharaonic reliefs of Alma at the battle of Kadesh, with footnotes

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Alma at the battle of Kadesh

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Alma, a skilled and courageous commander, played a vital role in the Egyptian army led by Ramses II during the invasion of Hittite territories in Palestine and the subsequent push into Syria, culminating in the Battle of Kadesh. As she rode atop her loyal and dependable steed, Alma served as an inspiring figure for her soldiers, instilling in them the necessary strength and fortitude to continue the challenging campaign.

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Alma at the battle of Kadesh

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Despite the immense challenges posed by the Hittite army, Alma remained resolute, directing her soldiers with precision and inspiring them to display unwavering courage in the face of adversity. Her unwavering determination and unyielding spirit contributed significantly to the Egyptian army's ability to persevere and ultimately achieve victory.

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Alma at the battle of Kadesh

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Alma's unwavering commitment to her soldiers and her expertise in tactical maneuvering made her an indispensable asset to Ramses II's army. Her presence on the battlefield, riding at the head of her soldiers, not only boosted their morale but also served as a symbol of strength and resilience.

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Alma at the battle of Kadesh

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Through her leadership and unwavering dedication to her troops, Alma became a legend within the Egyptian army. Her remarkable contributions during the invasion of Hittite territories and the Battle of Kadesh will forever be remembered as a testament to her bravery and the vital role she played in the success of Ramses II's military campaign.

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Alma at the battle of Kadesh

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The Battle of Kadesh took place in the 13th century BC between the Egyptian Empire led by pharaoh Ramesses II and the Hittite Empire led by king Muwatalli II. Their armies engaged each other at the Orontes River, just upstream of Lake Homs and near the archaeological site of Kadesh, along what is today the Lebanon–Syria border. More on the Battle of Kadesh

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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02 Works, The art of War, Angus McBride's Egyptian War Chariot in Action, with Footnotes

Angus McBride

Egyptian War Chariot

Based on z historical wall paintings, the armor and chariot from Tutankhamun's tomb

World History Encyclopedia

Chariots were very expensive, heavy and prone to breakdowns, yet in contrast with early cavalry, chariots offered a more stable platform for archers. Chariots were effective for archery because of the relatively long bows used, and even after the invention of the composite bow the length of the bow was not significantly reduced. Such a bow was difficult to handle while on horseback. A chariot could also carry more ammunition than a single rider. The chariot had a driver and one man with a bow.

Wheels and chariots at the tomb of Pharaoh Tutankhamun

Chariots would eventually form an elite force in the ancient Egyptian military. Infield action, chariots usually delivered the first strike and were closely followed by infantry advancing to exploit the resulting breakthrough, somewhat similar to how infantry might operate behind a group of armed vehicles in modern warfare. These tactics would work best against lines of less-disciplined light infantry militia. Chariots, much faster than foot-soldiers, pursued and dispersed broken enemies to seal the victory. Egyptian light chariots contained one driver and one warrior; both might be armed with bow and spear. More on Chariotry in ancient Egypt

Angus McBride (11 May 1931 – 15 May 2007) was an English historical and fantasy illustrator.

Born in London to Highland Scottish parents, Angus McBride was orphaned as a child, his mother dying when he was five years old, and his father in World War Two when he was 12. He was educated at the Canterbury Cathedral Choir School. He served his National Service in the Royal Fusiliers, and afterward got a job as an advertising artist.

Due to Britain's poor economic state immediately following World War II, McBride found it necessary to leave for South Africa. In Cape Town, he became a fairly well known and successful artist. However, he felt that he could not expand on his artistic plans in South Africa's small publishing industry. Consequently, in 1961, McBride moved back to England. He made his first works in educational magazines. In 1975, he began to work with Osprey Publishing's Men-at-Arms series.

As England's economy again suffered in the 1970s, McBride moved with his family back to Cape Town, and continued to work with British and American publishers. He continued to do realistic, historical illustrations for Osprey Publishing, as well as other such work for other military-history publishers.

Although a few of his paintings are in oils, McBride mostly preferred to work in gouache colours on illustration boards, making numerous detailed sketches of the composition before starting to paint.

In 2006, McBride moved to Ireland, where he continued to work. He died from a heart attack on 15 May 2007. More on Angus McBride

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05 works, the art of war, pharaoh Thutmose III in Ghaza, with footnotes

Armies of chariots and 10,000 foot soldiers under the pharaoh Thutmose III thundered through Gaza and defeated a coalition of Canaanite chiefdoms at Megiddo; situated in northern Israel, about 30 kilometres (19 mi) south-east of Haifa. 

Megiddo is known for its historical, geographical, and theological importance, especially under its Greek name Armageddon. During the Bronze Age, Megiddo was an important Canaanite city-state and during the Iron Age, a royal city in the Kingdom of Israel.

A fragment of a painted limestone relief dating to about 1400 B.C. from Thebes in Egypt depicts defeated Canaanites

Sandstone, paint

H. 61.5 × W. 115 × Th. 21 cm, 306.2 kg (24 3/16 × 45 1/4 × 8 1/4 in.

The Metropolitan Museum of Art

His march to Gaza to conquer the city of Megiddo was marked by an unexpected decision to take a treacherous and unlikely approach through a narrow path over the mountains. The city of Megiddo was defeated. The taking of Megiddo was important for Egypt’s economy. Without Megiddo’s open trade routes, Egypt could not flourish. The great king’s army of about 15,000 men stopped the uprising in this area and expanded Egypt to an extent it had never known before.

Wall relief from Egypt reveals an image of an ancient Canaanite

Part of the Ancient Egyptian region of Canaan, Gaza was best known in ancient times for its strategic location as an important trading center for Asian, European and North African markets. 

As with many colonial ventures before and since, military conquest led to a new cultural order in the occupied lands. Across Israel, archaeologists have found evidence that Canaanites took to Egyptian customs. They created items worthy of tombs on the Nile, including clay coffins modeled with human faces and burial goods such as faience necklaces and decorated pots.  More on these works

Egypt’s presence in Canaan ended sooner than the pharaohs might have expected. With Canaan under assault from seaborne invaders and hit by drought so severe it caused food shortages, Egypt’s colonial rule began to crumble around 1200 B.C.

The region of Gaza, a 25-mile long, 7-mile wide finger of land along the Mediterranean at the border between Israel and Egypt, has been at the center of geopolitical tug-of-wars for its entire existence. 

Polychrome relief of the warrior king Thutmose III (1479-1425 BC) wearing the Atef crown and false beard, from Deir el-Bahari. Now in the Luxor Museum.

The desirability of the territory resulted in frequent battles for its control. Gaza was conquered by the Philistines in the 13th century B.C., razed by the Hasmonean Kingdom and suffered incursions from the likes of Napoleon and Alexander the Great, whose army put the entire male population to death for refusing to surrender. More on Ghaza

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Painting, MIDDLE EASTERN ART, With Footnotes - 39

Effat Nagui, 1912-1994, EGYPTIAN

UNTITLED (GIRL WITH HER GOAT), c. 1950's

Oil on celotex

55 by 40cm.; 21 1/2 by 15 3/4 in.

Private collection

Effat Nagy (5 April 1905 – 4 October 1994) was an Egyptian artist who has a museum in Cairo devoted to her and her husband's works. The museum is called Museum of Saad El-Khadem and Effat Nagy

Effat Mousa Nagy was born in the Mediterranean port of Alexandria in 1905. She was fascinated by culture, she was trained in music and mathematics. She was taught art by a private tutor and her artistic brother Mohamed Nagy. Her formal training was at the Arts Academy in Rome in 1947. She worked in Egypt under André Lhote and they used Egyptian archaeology as subject matter.

She married Saad Al-Khadem in 1945. He was also an artist and a researcher. Her husband's research inspired her art.

In 1964 she exhibited her work at the High Dam Exhibition. This was a result of work that she had been commissioned to do the previous year. She was asked to record the archaeology that would be lost as it was submerged under the waters of the Aswan Dam as it was constructed. She was one of 64 artists chosen to do this work.

In 1968 the Mohamed Nagy Museum was founded and Nagy made a donation of forty of her brother's paintings to help create a collection of her brother's work.

Nagy died in 1994 although another source says 1997. More on Effat Nagy

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13 Ancient Egyptian Artefacts - With footnotes - 5 - With footnotes

Romano-Egyptian, ca. 1st century BCE to 1st century CE. Heavy gold foil formed into the likeness of a Nile crocodile. Incredibly detailed with open mouth exposing rows of deadly teeth, almond-shaped eyes and rows and rows of scaley scutes with pronounced central dorsal ridge. Size: 6.875" L (17.5 cm), 37.1 grams of 97% pure gold.

Sobek was a Crocodile god venerated at Crocodilopolis in the Faiyum, which was an important oracular centre during the Graeco-Roman Period, and, together with Haroeris (Horus the Elder), in the twin-temple at Kom Ombo where a crocodile necropolis was discovered. Seti I referred to him as Lord of Silsileh where he had a temple during the 19th dynasty. As god of the water he created the Nile from his sweat and caused plants to be lush and green, one of the traditional roles of Osiris. More

Egyptian blue composition head of a man, Roman Period

An Egyptian blue composition head of a man, Roman Period, c. 1st Century AD, perhaps a pharaoh or emperor, wearing tight-fitting headdress with uraeus, his face quite handsome, his ears outside the headdress. H: 2 ½ in (6.4 cm).

Ancient Egyptian Wooden Boatman with Articulated Arms

Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with classic Egyptian face (large, dark-outlined eyes), a cropped haircut, and a white loincloth. He is in a seated position, with long, articulated arms, which probably would have been raised to hold oars in his original placement. During the Sixth Dynasty, it became common to place wooden models of lifelike scenes in Egyptian tombs; by the Middle Kingdom, they were placed in the tomb chamber, around the coffin, although some very rich tombs had a separate chamber just for wooden models. Two ships are found in almost all tombs that have models from this time period, and those ships are, during the Middle Kingdom, staffed by boatmen like this one. This boatman was made to be a servant in the afterlife, ready to row the deceased upon the eternal Nile, as real boatmen would have done in life. Size: 2.6" W x 6.6" H (6.6 cm x 16.8 cm) 

Egyptian Wooden Boatman with Articulated Arms

Ancient Egypt, Middle Kingdom, ca. 2040 to 1802 BCE. A hand-carved, three-dimensional wooden boatman, with a painted face, a cropped haircut, painted reddish skin, and a white loincloth. Size: 2.3" W x 7.8" H (5.8 cm x 19.8 cm) 

Large Egyptian Pottery Astarte Figure

Egypt, New Kingdom or earlier, ca. 1543 to 1292 BCE. A large hollow pottery figure of a female goddess with a voluptuous body and a large headdress. She wears jewelry and very little clothing. Her hair is long, straight, and painted black; atop her head is a massive headdress topped by what appears to be four ostrich feathers. Although the figure is painted, it also has the look of being a mold for a bronze statue; it may have served a dual purpose. Astarte is the goddess who is also known as Ishtar in some parts of Mesopotamia. During the 18th Dynasty, she arrived in Egypt, brought by contact with Semitic people. She was worshipped in Egypt as a warrior goddess and often paired with the violent war goddess Anat. Size: 5.25" W x 18.3" H (13.3 cm x 46.5 cm) 

Egyptian Deep Blue Faience Amulet of Sekhmet

Egypt, New Kingdom, 18th Dynasty, Amarna Period, ca. 1353 BCE. A small faience amulet in the shape of a bust of Sekhmet. The goddess, a fierce hunter, is depicted as a lioness wearing a traditional Egyptian crown (the uraeus has broken off). She was prayed to as a protector of pharaohs and led them in warfare. Size: 0.55" W x 0.95" H (1.4 cm x 2.4 cm) 

Egyptian Faience Thoth Baboon Amulet

Egypt, Third Intermediate Period to Late Dynastic Period, ca. 1070 to 332 BCE. A highly-detailed faience amulet of the god Thoth in his baboon form. Thoth was the god of writing, accounting, and other intellectual pursuits, associated with the ibis and the baboon. 0.75" W x 1.6" H (1.9 cm x 4.1 cm) 

Egyptian White Faience Ushabti

Egypt, probably Memphis, New Kingdom, Ramesside period, Dynasty XIX, ca. 1279 to 1193 BCE. Mummiform votive ushabti, white faience with transparent glaze, details in black, wearing a short wig with sidelock (wick of youth) and a small goatee, adorned with a broad usekh collar, holding agricultural implements in each hand, seed sack on the back and a column of hieroglyphic inscriptions on front naming “Rema” as the owner. Translation is "The iIluminated one, the Osiris, Sem Priest of Ptah, r m a."   Size: 5.625" H (14.3 cm)

Egyptian terracotta figure of Harpokrates on horseback

A large Egyptian terracotta figure of Harpokrates on horseback, Roman, c. 1st - 2nd Century AD, dressed in a short tunic and wears a large bound wreath and a Double Crown, his left hand on the horse’s head, right hand on its flank. H: 9 in (23cm), W: 6 4/5 in (17.3cm). 

Silver statuette representing Harpocrates

Greco-Roman, Dynasty Ptolemaic , 350-30 BC

Harpokrates. In late Greek mythology as developed in Ptolemaic Alexandria, Harpocrates is the god of silence, secrets and confidentiality. Harpocrates was adapted by the Greeks from the Egyptian child god Horus. To the ancient Egyptians, Horus represented the newborn Sun, rising each day at dawn. When the Greeks conquered Egypt under Alexander the Great, they transformed the Egyptian Horus into their Hellenistic god known as Harpocrates. More

 Isis (on the left, holding a sistrum), Sarapis (wearing a modius), the child Harpocrates (holding a cornucopia) and Dionysos (holding the thyrsus). Marble relief, last quarter of the 2nd century CE, found at Henchir el-Attermine, Tunisia.

H. 1.92 m (6 ft. 3 ½ in.), W. 83 cm (32 ½ in.)

Louvre Museum

Nefertoum

Louvre Museum

Nefertem was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters. Nefertem represented both the first sunlight and the delightful smell of the Egyptian blue lotus flower, having arisen from the primal waters within an Egyptian blue water-lily, Nymphaea caerulea. 

Nefertem the child comes from his earth father Nun's black primordial waters, and his sky mother is Nut. When he matures, he is Ra.

Nefertem was eventually seen as the son of the Creator god Ptah, and the goddesses Sekhmet and Bast were sometimes called his mother. In art, Nefertem is usually depicted as a beautiful young man having blue water-lily flowers around his head. As the son of Bastet, he also sometimes has the head of a lion or is a lion or cat reclining. The ancient Egyptians often carried small statuettes of him as good-luck charms. More

God Shu holding the sky above his head

Cairo Museum

Shu (Egyptian for "emptiness" and "he who rises up") was one of the primordial Egyptian gods, a personification of air, one of the Ennead of Heliopolis. Shu was the father of Nut and Geb and grandfather of Osiris, Isis, Set and Nephthys. His great-grandsons are Anubis and Horus. More

Acknowledgement: Artemis Gallery, Ancient Resource, 

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