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The definition of beauty for Egypt and ancient Greece
The Egyptians considered that the importance of beauty was mainly in the physical aspect, they made different types of compounds to stay beautiful representing the unity between life and death, the Greeks admired the beauty of the human being from the natural aspect, shades ofskin, proportions, harmonies and volumes of the body and were guided by mathematics to determine the beautiful.
The beauty object of investigation over time in search of established patterns within humanity to identify the beautiful, also defined according to the SAR as "a notable person or thing for its beauty". If the word beauty is explained, we manage to find adjectives as excellent and provided with it, we could say that pleasant to the five senses. But it is not yet achieved by agreeing unique beauty standards in the world, because it can be external, as internal, approved, idealized, intellectual or artificial. The interpretation that cultures have provided to beauty are extensive on this occasion, the Egyptians and the enhancement of beauty are known through their attire, ornaments and substances that they used in their day to day, also who were the precursors of saidhabits. And in the Greek culture it shows the way in which philosophers consider that beauty is, they are based on definitions such as the naturally beautiful, use of measures and harmonies not only in the human but to everything that occupies a place in the world, theExpressions of beautiful through art, especially painting and sculpture, in addition as in its mythology the god Zeus gives all being proportions of beauty based on harmony.
The Egyptians and beauty
Beauty for Egypt was conceived as what we can observe through sight, they used different products, attire to demonstrate how beautiful were they were.
The antimony or kohl with which the Egyptians paint their eyes has the property of preventing desert ophthalmias (Dominique Paquet, 1998)
Each substance benefits external body such as eyes, hair, skin, among others. The Egyptians were authentic beauty masters, cosmetics. They made their own ointments, perfumes, dyed their hair and maintained their hydrated complexion and protected it from light. The cult of beauty in that period was such that they even buried the pharaoh adjacent to containers containing creams, perfumes and cosmetics to use them in the next life.
The most usual makeup was delineated under the eye, inspired by seeing the fish, which over the time has varied its coloration, traveling the green, black or strong blue. This delineated, sometimes exaggerated, framed the view and extended even the temple and was used by women, men and children of all social classes. Delineate has different utilities.
The kohol, which is the dark dye they used as an eye eyeliner, protected them from eye diseases, such as conjunctivitis, and served as an insect repellent. Also, there was the confidence that this cosmetic protected them from the evil eye eye. Thus defining that the ancient Egyptians had closely clear how beauty and health are perpetually. In divergence with pompous eye makeup, they applied white powders that illuminated the wrapping in the face. The Egyptians were the inventors of the first lipsticks, applied an ink made with scarlet ocher and iron oxide obtaining a very even tone that we can find today in any cosmetics bazaar. They even used illuminators that gave glow to their look, making them with iridescent shells of beetles that crushed until they acquired a dust that they applied in the eyes.
There were two main reasons that led to the great cult of beauty and makeup in pharaonic cuts in first the ancient beauty of the queens of the past Egypt and the second the embalming of each pharaoh.
The funeral rites were not only characterized by mummifying the bodies of the deceased, also by enhancing all kinds of objects, food and precious materials to them so that in future existence they enjoyed earthly capitals. Among the objects were ocher combs, creams, eye jet, residue, etc., intrinsically of small containers in which the explanations for their rite were recorded.
They also created the first flashes to decorate the eyes, for which the caparazones of certain beetles crushed in a crusher to acquire a robust sawdust that mixed with shadows.
The light shading, favorite, was obtained by means of Malachite in flour that applied to the upper and lower eyelids. The delicacy of aesthetic care was formidable. Secret formulas embellish the queens of Egypt who, very hurried, were imitated. The hairstyles, wigs, milk baths, stylized silhouettes, formed detail of a civilization in which the spiritual, art, religion and science had an essential importance.
Specific care they deserved hair, skin and eyes. The hair was painted with Henna, getting thousands of incarnate and bright nuances, or as it was completely shaved to grant the continuous changes of wigs, intensely sophisticated. With ointments, shales and scented or rennet bathrooms took care of a smooth and extremely soft dermis. The eyes were highlighted in jet, magnifying and softening their native spelling. The carmine of the lips, the albo to subtract vivacity to the face, the red-orange for the cheeks, were products extracted from plants and shrubs. They used antimony to replace the nuance of the eyelids in Ańil and green, also growing the eyelashes.
The two queens that were most signified by their beauty and their beauty secrets were Nefertiti and Cleopatra. De Nefertiti remembered until his stylized shadow, after having six children, being she who extended the use of green hue for the eyelids. The great chest of this Empress, a woman from Amenhotep IV, is preserved in ostentatious constitution in a Berlin exhibition. The nefertiti majesty, the nails of the hands and feet of a ruby crimson were painted. From Cleopatra it is said that it was the lady who gathered more and more secret referent the finish of her magnificence: the nails of the hands and feet of a shady scarlet of oxide, her masks, her shaving, her "creams" with pollution with pollution, with pollution, with pollution was paintedAnd his cream bathrooms went down in history. Starting with Cleopatra until today’s modern techniques, at the dilated time of time the ways to beautify the countenance have changed.
The Egyptians also shaved their eyebrows and other postpags were placed. There were conditions such as lower -rank women could only use pale shades. They began the fashion of painting their mouths with red ocher dyes and natural iron oxide helping a brush or stick, also colored the fingers of the hands and feet with Alheña to obtain a red-orange pigment, and in marked the veinsof their breasts and painted their nipples with gold.
The men filled their tombs with makeup for the existence of the beyond. In that of Tutankhamon, creams for the skin, lip and tint color were found, still usable and fragrance material.
The use of cosmetics also reflected the unity of humans with the gods, a connection with the other life. In the book of Enoc Hazazel, chief of the rebel angels, he mentions that he was in charge of expanding art and painting the eye contour with antimony. (Charles, 2006)
Greeks and beauty
For ancient Greece the interpretation of beauty was very different, the definition of beauty was in the aesthetic reflections of Greek philosophers specifically in the classic period.
The Greeks had a firm investigation in relation to the ideal of beauty, the first meditations were suggested by Pythagoras, in the vl a century.C, its guidelines were based on the fact that the world is a whole that has an order and operates by a mathematical law, thought that is born from the presocratic philosophers (Anaximandro, Anaximedes and such) who debated referring to the beginning of all things.
Zeus had set an appropriate size and limit to all beings, the approach of the Greek universe interprets the rule and harmony as the forms that limit the planet and compose it. Pythagoras is one of the theorists who proposes a formula known as a golden proportion to define the beauty of life, this balance can be found in the biosphere as plants and animals, even in all artistic forms of expression such as the song, sketch,architecture among others.
Thanks to the Aurea relationship, the basic rules of composition in the painting that derive from it would be established, among these, the third rule can be referred to, it points out that if inside the parallelogram in which the curve was designed, four points are locatedCentrals inside every section, what remains within those points will be the axis of curiosity of the effigy, the incentive lamppost, this law would be subsequently adopted in photographic information and cinema.
This first time of the classical Greek inclination with aesthetic reference pythagoras will transcend in all studies related to the measure, proportion and symmetry in such a way that rules or laws were stipulated, which delimited the way in which beauty should be known, in which a thing should be conceived as nice and even as it should be represented to be beautiful according to its proportions.
We can talk about a first understanding of beauty, although it is linked to the various arts that express it and do not have a unit statute: in the hymns of beauty it is expressed in the harmony of the cosmos. (Eco, 2010)
Aristotle thinks that the extension and proportion have an adequate norm which calls or conceptualizes as a way, defining that the shape of objects and reality are beautiful if they comply with this correlation. Each work that makes up the universe has an appropriate dimension, both unitary and the total and collective composition of which this object is.
This appreciation allowed in art to represent or sculpted works in which the intervention of all the objects that were part of this were arranged in such a way that, if one of them was missing, the work would not fulfill its intention would certainly lose the value that it isIt was set by the creator who composed it, thus summarizing an artistic work, on this subject the picture of a famous sketch, the birth of Venus of the year 1484 by Sandro Botticelli, each object like hair, the posture of the bodyand of the hands, the shell where it remains and others have dimensions that represent on the canvas as each object a proportion all the rest that remains in the work. Relationships recreate the form of objects properly, they are also placed and ordered according to the author’s ambitions, thus fulfilling the total composition with the canons of proportion and symmetry.
In both Egyptian and Greek culture, beauty was conceived in different ways some sought more exterior and in the case of the Egyptians who attended the care of their body as a primary basis both in life and dead, leaving a legacy to othersof structures to see beauty. On the other hand, the Greeks are mostly identified with natural beauty and interior. They handle canvases where the important thing is the measurements of the body to ensure that something is beautiful, also that it must be harmony and proportion to consider it pleasant to sight and that it does not affect the other things to represent. Beauty was, continues and will continue to be discussion because if it is true we can identify norms referring to beauty, they are not the only thing to rely to determine something beautiful as absolute truth.
Beauty in ancient Greece is defined as the relationship between harmony, proportion and measure.
The two main reasons that led to the great cult of beauty and makeup in Egypt were the ancient beauty of the queens and embalming of each pharaoh.
The hairstyles, wigs, milk baths, stylized silhouettes, unique formed detail of a civilization in which the spiritual, art, religion and science had an essential importance.
Zeus sets an appropriate size and limit to all beings, thus interpreting the rule and harmony as the forms that limit the planet.
Each piece composes in the universe an appropriate dimension, both unitary and total composition.
- Charles, r. H. (2006). THE BOOK OF ENOC.
- Dominique Paquet. (1998). Beauty History. Editions B, S.A.
- Echo, u. (2010). Beauty History. Delbosillo.