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date: 10 April 2020

Abstract and Keywords

Art history has its own demands for recording visual representations. Objectivity and authenticity are the twin pillars of recording artistic data. As such, techniques relevant to epigraphic study, such as making line drawings, may not always be the best approach to an art historical study, which addresses, for example, questions about natural context and materiality of the artwork, the semantic, syntactic, and chronological relation between image and text, work procedures, work zones, and workshop traditions, and interactions with formal structures and beholders. Issues critical to collecting data for an art historical analysis include recording all relevant information without overcrowding the data set, creating neutral (i.e., not subjective) photographic images, collecting accurate color data, and, most critically, firsthand empirical study of the original artwork. A call for greater communication in Egyptology between epigraphy/palaeography and art history is reinforced by drawing attention to images as tools of communication and the close connection between the written word and figural art in ancient Egypt.

Keywords: art history, objectivity, authenticity, line drawing, photographic image, color data, image

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