(artist(s) unknown, Dynasty 19 illustration from the collection of Books of the Dead) (c.1285 bc). Judgement of Hunefer Before Osiris [illuminary papyrus]. The British Museum of London.

This is a perfect example of what people think of when Egyptian visual communication is broached. It reflects the unique blend and strength of faith this culture had, their obsession with the passage from life to the next realm, their need for order and direct, multi-layered communication. While figurative proportions and space are bent and adjusted in favor of the message, there is still remarkable sensitivity to design in the lateral use of pattern, organization of graphics and what amounts to text, and visually pleasing arrangement of values. |

Objective abstraction applies; this mural documents the supernatural events of the title and is based on standardized design. In this way, concept rivals subject as its primary purpose. Pattern carries this work more than other formal details because it establishes how it will be absorbed by the observer and provides compositional organization. I believe it is fair to characterize it as achromatic because the medium provides what impure color there is to be found. This strategy is effective because the designer’s choices in building a value pattern blended with the rhythm of shapes and glyphs maximize its legibility.

Nearly planar depth is built in the typical ancient Egyptian fashion, but further supported by the size relatability between glyphs and the shapes installed in the architectural details. Color and detail schemes and the pleasant surprise of transparency combine to reinforce the this works flatness.

Fast lines of consistent measure define shapes and characters. Attributes like shape definition, size and texture bind a fluid scene, with supporting qualities like color and value providing some interest. Lateral lines, both real and implied, and repeating shapes direct attention rightward to the throned, crowned figure of Osiris. Architectural elements and the only evidence of overlapping (his attendants) further frame him.

Hunefer is today thought to be a private citizen, not a Pharaoh or other government official. He is being led by Anubis to the scales that will weigh his heart against Maat’s Feather of Truth. He then will be presented to Osiris for judgement. The two women behind him are not attendants but the goddesses Nephthys and Isis, offering the gesture of loving support characteristic of ancient Egyptian art.

This work has a lot in common with modern comic books in its firmly line-established shapes, planar nature, perpendicular organization and glyphs that serve the purpose of thought balloons in the upper-most register. As a work of design, effective is the word that best describes it. There is no doubt about what is being communicated and where visual energy is spent.