But it is not only these oldest relics of human architecture which tell of the role played by age-old beliefs in the story of art. The Egyptians held the belief that the preservation of the body was not enough. If the likeness of the king was also preserved, it was doubly sure that he would continue to exist forever. So they ordered sculptors to chisel the king’s head out of hard, imperishable granite, and put it in the tomb where no one saw it, there to work its spell and to help his Soul to keep alive in and through the image. One Egyptian word for sculptor was actually ‘He-who-keeps-alive’ (Egyptian1).

The basic reason why King Khafre wanted this statue of him created was to ensure that his spirit would go on forever, and to make sure that he would be remembered as a powerful ruler and his name would go down in history. “This particular ka statu

I believe this artwork to be a great example of loyalty to their ruler and it shows that the Egyptian people really believed in their culture. How they valued their religion and their lives revolved around it. The statue of King Khafre is a template for later works of art. The temple of Rameses, for example , have the same basic positioning, and rendering as the ka statue of King Khafre Seated (Studyarea.com). Monumental Egypt, although it existed in burial tombs before Khafre’s reign, it became a pattern in the fourth dynasty (Studyarea.com). Khafre’s statues were perhaps the beginning of the formulaic sculpting of Egyptian ka statues. The King Khafre Seated statue is not only the best ka statue of Khafre in existence, but perhaps one of the best examples of classic Egyptian sculptures from the Old Kingdom (Studyarea.com). Even though there are many sculptures this one fits many different things that make Egyptian art so great. Its great scale, detail, and it’s connection with the culture make it a great work of art.

There are typical feature is this work of art that are in most of the art from the Egyptian Old Kingdom. The posture of the statue is the typical stiff posture that is regular in Egyptian art. Both palms down with his arms resting on his lap which is said to be a pose that is ready to receive an offering. Another identifying feature of the pharaoh can be found on the unusually back-less throne that Khafre figure sits on. It is decorated “...with the sema-tawi, an emblem of unification that combines papyrus for the north and a flower for the south (Metropolitan).” Other hieroglyph, that of a bird may, in fact, represent “ the falcon of Horus, indicating the pharaoh’s divine status, “ as some other ka statues of Khafre provide an indication of Horus (Tansey and Kleiner 75-76). The compact figure of Khafre sits in a sort of permanence with no projecting limbs or easily breakable parts. The feet of Khafre are facing straight forward and they are together which looks like a pretty unnatural position. This also looks like a very uncomfortable position that you would not see very many people sit like this. This makes this strange that the Egyptians would sculpt it in this position. But most if not all Egyptian art has people in unnatural positions.

e of King Khafre Seated is only one out of the original twenty-three from the pharaoh’s burial tomb of the valley temple, at Giza. Although the individual a

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