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The transmission of painting in the Coptic era, and painting in Egypt continued on its way and did not undergo significant changes in the first Christian centuries, i.e. from the fourth to the eighth century AD, despite some developments that occurred in the artistic methods of painting and its different schools according to the countries in which it appeared, and this is due to the influence of the environment on art. The local, who had ancient historical roots, whose artistic methods determined the ancient heritage: Dr. Murad Kamel mentions (in his book on the civilization of Egypt in the Coptic era) that the prevailing painting in the Coptic era followed the method that was inherited from ancient Egypt, which is the method of painting with the colors of oxides known as (Afarsque). The Egyptian) was painted on the walls covered with a layer of lime and gypsum, and the drawing continued in this ancient Egyptian way until the Roman era. Ages are taken in

This method of drawing was a Christian form in the Coptic era, and from it it spread among the Christians of the East and the West, and it remained the same until the Renaissance era. Coptic painting did not take its forms from visible nature, but pictures of saints and martyrs and subjects from the Bible, and the pioneer of that ideals in which pictures of people appeared with a degree of stability and dignity, so that they drew a child with a large face without naivety, and they avoided drawing shadows on the faces and cared for The simplicity of the dress and the calmness of the colors in terms of preserving the industrial methods of (technological) photography... Dr. Bahor Labib (in a research on the early Christian ages) mentions that the Coptic Christian artist, who was overcome by his Egyptian nationalism, refused but to insist on the artistic trend in The Christian era, so imagine the Virgin Mary taking out her breast to breastfeed the Lord Christ. This idea is taken from ancient Egyptian art, when we see the deity Isis taking out her breasts to breastfeed her deified son Horus (Fig.

Coptic art is an extension of the ancient Egyptian era, in addition to being a realistic style of the traditions that are still alive today with us 000, and it was transferred from Egypt abroad (1) and we see its influence on Western artists from some of their works, Wad Sharkia Bawit: There is no doubt that Coptic art has adhered to this point of view Religious, saints in simplicity coupled with spiritual elevation. Among the important monuments that illustrate the style of Coptic art and the industrial means that it followed, we find, for example, a qiblah (oriental or apse) made of silt coated with lime and colored with watercolors. It is now preserved in the Coptic Museum after it was removed from the Bawit Church near Dayrut (fig. 15) - and it was depicted on it. The Lord Christ is seated and holds the Holy Book in his left hand and comes with the sign of blessing in his left hand. He is surrounded by the four animals that symbolize the saints who wrote the Gospels. The first is the head of the lion, which symbolizes St. Mark, the second is the head of the calf, which symbolizes St. Luke, then the third is the head of the eagle, which symbolizes St. John. And the fourth is a human face and symbolizes St. Matthew. On the right and left, you will find the Archangels Michael and Gabriel bowing in reverence and reverence to the Lord Christ while he is on his chariot on his heavenly journey, which is similar to (1) This method was adopted later by the artists of Italy, quoting from the Egyptian Coptic art.. From which it spread to Some western countries like Germany -

To a large extent the journey of the god Ra in the boat of the sun. Beneath this scene is a picture representing the Virgin Mary carrying the Christ as a child and around her the twelve apostles... At each end of the row we see an Egyptian saint, meaning that the Egyptian Christian who was overcome by his Egyptian nationality refused to embrace Christianity and the apostles, so he added to them two local Egyptian saints. The history of this qiblah, which was drawn in the Egyptian Afrosk method, dates back to the late fifth and early sixth centuries AD, and the method of drawing it does not differ, of course, from the method of drawing in ancient Egyptian art, which we have seen since the beginning of the dynastic era in Egypt, from the depiction of faces, and we cannot fail to mention the art of drawing and depicting faces. Coptic in the funerary traditions of the people. In early Christian times, the use of colored images that were placed on the faces of the mummy spread to record the face of the deceased, according to the customs of the ancient Egyptians, and they used carved faces. There are many examples that illustrate the period of transition from the Egyptian era to the Greco-Roman era, which are not easy to differentiate from each other, and we cannot mention one of the two eras without exposing the other...then the Coptic era. Among the most beautiful of these examples is the drawing on a linen cloth of a mummy from around the third century AD, and it has a drawing covered with varnish (Fig. 16). This drawing depicts the dead person taking the form that represents the Roman man... But we also find that the artist adhered to Egyptian myths... The dead is embraced by the god of the dead, Anubis... Here is the wealth of evolution from the colored coffin drawn in a human form to the one in which a colored pictorial drawing or a mask of colored gypsum is placed over the head of the dead wrapped in rolls. This painting is preserved in the Egyptian section of the Louvre Museum in France, under No. 3076. The Coptic artist studied the effect of shadows in showing the face stereoscopically, and thus the flat drawing became a three-dimensional solid. The most important of these images that came to us is what was found in the Fayoum tombs, including those drawings in which the artist used to fix the colors with wax, which we will explain when talking about the industrial methods of photography. Some of them continued until the fifth century - but we also notice that thought prevailed over realism in some cases, so we see in the pictures of Christ and the pictures of the saints that the painter did not use the drawing of shadows and tried to show the details of the face with linear definitions, because he wanted to express the luminosity of the saints as It is supposed that the light radiates from the faces of the saints, and therefore it was not imagined that parts of them would be covered by shadows. . Vrsmha Kmshaat color in most cases.