At the end of the Amarna Period, a process of political and religious restoration began. This attempt at recovery went beyond the strictly official, as the Egyptian society seemed to demand a moral reparation. It was a much-needed change that would encompass all aspects of society and it was imperative that the changes be visible. It is for this reason that visual art would be one of the main means of communication. The artistic image was the propaganda necessary to reconstruct historical memory and religious sentiment. This was most evident in the early years of the 19th dynasty, when, in addition, the need to legitimize the new royal lineage was reflected in private tombs. The Egyptian artist used art to visually consolidate these changes, and the owner of the tomb was keen to do so. This article aims to analyze the artistic changes, mainly in the private sphere, that occurred in funerary art in opposition to the religious changes that had been made during the Amarna Period and that were most evident from the reign of Horemheb until the first half of the reign of Ramesses II. Politics and art intermingled at a time when reconstructing the past and the relationship with divinity was an urgent necessity.

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离开“不适”区：十九世纪初政治与新艺术实践的关联


阿玛纳时期末期，政治和宗教复兴的进程开始了。这种恢复的尝试超出了严格的官方范围，因为埃及社会似乎要求道义上的赔偿。这是一项急需的变革，涵盖社会的各个方面，而且变革必须是可见的。正是由于这个原因，视觉艺术将成为主要的交流手段之一。艺术形象是重建历史记忆和宗教情感所必需的宣传。这在第十九王朝初期最为明显，此外，私人坟墓也反映了新王室血统合法化的需要。埃及艺术家用艺术在视觉上巩固了这些变化，而坟墓的主人也热衷于这样做。本文旨在分析葬礼艺术中发生的艺术变化（主要是在私人领域），这些变化与阿玛纳时期发生的宗教变化相对立，这种变化从霍伦赫布统治时期到上半叶最为明显。拉美西斯二世统治时期。在重建过去以及与神性的关系成为迫切需要的时代，政治与艺术交织在一起。