Black Egyptian Dress

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• Third Intermediate Period (c.1069–664 BC)
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It was Egypt's most prosperous time and marked the peak of its power. This tremendous wealth can be attributed to the centralization of bureaucratic power and many successful military campaigns which opened trade routes. With the expansion of the Egyptian Empire, Kings gained access to important commodities such as cedar from Lebanon and luxury materials such as lapis lazuli and turquoise.

The art of the Naqada III period was quite sophisticated, exemplified by cosmetic palettes. These were used in predynastic Egypt to grind and apply ingredients for facial or body cosmetics. By the Protodynastic period, the decorative palettes appear to have lost this function and were instead commemorative, ornamental, and possibly ceremonial.

Third Intermediate Period (c.1069–664 BC)

Priestesses, for instance, wore beaded headdresses and beaded collars. Upper class women also wore nets of faience beads across the middle third of their tunics for festive occasions. For poorer women, they had to be content with a string of beads around their waists. Unlike these bead collars and bead strings, bead-dresses are not so much accessories as they are pieces of clothing in their own right.

Egyptian art is known for its distinctive figure convention used for the main figures in both relief and painting, with parted legs and head shown as seen from the side, but the torso seen as from the front. The figures also have a standard set of proportions, measuring 18 "fists" from the ground to the hair-line on the forehead. This appears as early as the Narmer Palette from Dynasty I, but this idealized figure convention is not employed in the use of displaying minor figures shown engaged in some activity, such as captives and corpses. Other conventions make statues of males darker than those of females. Egyptian art uses hierarchical proportions, where the size of figures indicates their relative importance.

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The production of copper artifacts peaked in the Old Kingdom when huge numbers of copper chisels were manufactured to cut the stone blocks of pyramids. The copper statues of Pepi I and Merenre from Hierakonpolis are rare survivors of large-scale metalworking. Egyptian blue is a material related to, but distinct from, faience and glass. Also called "frit", Egyptian blue was made from quartz, alkali, lime and one or more coloring agents . These were heated together until they fused to become a crystalline mass of uniform color .

Mesopotamian king as Master of Animals on the Gebel el-Arak Knife. This work of art both shows the influence of Mesopotamia on Egypt at an early date, during a period of Egypt–Mesopotamia relations, and the state of Mesopotamian royal iconography during the Uruk period. Artworks served an essentially functional purpose that was bound with religion and ideology. Therefore, ancient Egyptian art portrayed an idealized, unrealistic view of the world. There was no significant tradition of individual artistic expression since art served a wider and cosmic purpose of maintaining order (Ma'at). Most Egyptian Women EverydayTraditionally, Egyptian women try to dress modestly.

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The Hyksos, a dynasty of ruler originating from the Levant, do not appear to have produced any court art, instead appropriating monuments from earlier dynasties by writing their names on them. A large palace at Avaris has been uncovered, built in the Levantine rather than the Egyptian style, most likely by Khyan. King Apepi is known to have patronized Egyptian scribal culture, commissioning the copying of the Rhind Mathematical Papyrus. The stories preserved in the Westcar Papyrus may also date from his reign. Naqada III is notable for being the first era with hieroglyphs , the first regular use of serekhs, the first irrigation, and the first appearance of royal cemeteries.

In the Eleventh Dynasty, the kings had their monuments made in a style influenced by the Memphite models of the Fifth and early Sixth Dynasties. During this time, the pre-unification Theban relief style all but disappeared. These changes had an ideological purpose, as the Eleventh Dynasty kings were establishing a centralized state, and returning to the political ideals of the Old Kingdom. In the early Twelfth Dynasty, the artwork had a uniformity of style due to the influence of the royal workshops. It was at this point that the quality of artistic production for the elite members of society reached a high point that was never surpassed, although it was equaled during other periods. Egypt's prosperity in the late Twelfth Dynasty was reflected in the quality of the materials used for royal and private monuments.

Some such pottery items represented interior parts of the body, such as the lungs, the liver and smaller intestines, which were removed before embalming. A large number of smaller objects in enamel pottery were also deposited with the dead. It was customary for the tomb walls to be crafted with cones of pottery, about 15 to 25 cm tall, on which were engraved or impressed legends relating to the dead occupants of the tombs. These cones usually contained the names of the deceased, their titles, offices which they held, and some expressions appropriate to funeral purposes. The techniques of jewelry-making can be reconstructed from surviving artifacts and from tomb decoration.

Silver, referred to as "white gold" by the Egyptians, was likewise called "the bones of the god". The Fayum mummy portraits are probably the most famous example of Egyptian art during the Roman period of Egypt. They were a type of naturalistic painted portrait on wooden boards attached to Upper class mummies from Roman Egypt.