http://classicalchopped.artinterp.org/omeka/files/original/a1ef5ce45ce5c5200b83e3a2fa795216.jpg 4ba37e457ba8ac09045ac5c49d037ec4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description: The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. He has a full set of hair that fall in an almost comma like shape. He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also a inscription underneath the painting that says “Farewell, Artemidorus.” Significance: The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. His hair shape resembles a comma, which is very Julio-Claudian. This gives the portrait Roman qualities. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude to represent their strength and heroism. Which also shows a connection to Greece. The Isis wreath is also indicative of knowledge. Another aspect of the paining that supports its veristic nature is Artemidorus’ skin tone. This I because the tone of his skin is darker than we typically see with Egyptian art, we have only seen this recently with paintings like this and the Severan Family Portrait. The unevenness of his rises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards, like in the Severan Family portrait. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120, Trajanic Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint, Limewood. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. Full head of hair that falls across his forehead in individual locks that have the appearance of “commas.” He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also an inscription underneath the painting that says “Farewell, Artemidorus,” spelled in Greek letters. Underneath the portrait there are depictions of Egyptian funerary scenes, overlaid with golden leafs. The bottom is also coated in red-painted plaster. Significance The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. The shape of his individual locks of hair resemble commas, which is very Julio-Claudian. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude. People depicted in the nude were usually representative of heroism and strength. The Isis wreath is also indicative of knowledge, through its connection to the cult of Isis. The cult of Isis was a religious sect that gave Christianity a run for its money. Another aspect of the painting that supports its veristic nature is Artemidorus’ skin tone. This is because the tone of his skin is darker than we typically see with Egyptian art. The unevenness of his irises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing