Sunk relief with Amenemopet, offering to a Lunar God and to Satet In the early Ramesside period several stelae, mostly commissioned by the Viceroy of Kush Amenemopet, were added. One of the stelae shows Seti I making an offering to the gods Khnum, Satet and Anket; another, done in sunk relief, shows a kneeling Amenemopet offering to a lunar god and to the goddess Satet. Several groups of striding figures are carved into the jebel rock.William Vivian Davies; The Egyptian Inscriptions at Jebel Dosha, Sudan.
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For example Avery in Grove Art Online, whose long article on "Relief sculpture" barely mentions or defines them, except for sunk relief. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo,Murray, 1989, op.cit. where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief".
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Much of the finest work, including the famous Nefertiti bust in Berlin, was found in the studio of the second and last Royal Court Sculptor Thutmose, and is now in Berlin and Cairo, with some in the Metropolitan Museum of Art, New York. The period saw the use of sunk relief, previously used for large external reliefs, extended to small carvings, and used for most monumental reliefs. Sunk relief appears best in strong sunlight. This was one innovation that had a lasting effect, as raised relief is rare in later periods.
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On the north side the king wears the red crown. On the south wall of the main central chamber scenes in sunk relief can be seen. On the right is a scene of the scepter of Amun with four vertical lines and more inscriptions. Inside the sanctuary stand two statues.
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Inscriptions and reliefs A series of succeeding pharaohs added inscriptions to the walls and the columns in places their predecessors had left blank, including Ramesses III, Ramesses IV and Ramesses VI. The northern side of the hall is decorated in raised relief, and was mainly Seti I's work. The southern side of the hall was completed by Ramesses II, in sunk relief although he used raised relief at the very beginning of his reign before changing to the sunk relief style and re-editing his own raised reliefs. Ramesses II also usurped decoration of his father along the main north-south and east-west processional ways of the hall, giving the casual observer the idea that he was responsible for the building. However, most of Seti I's reliefs in the northern part of the hall were respected.
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A sunk-relief depiction of Pharaoh Akhenaten with his wife Nefertiti and daughters. The main background has not been removed, merely that in the immediate vicinity of the sculpted form. Note how strong shadows are needed to define the image. Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief.
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They all had similar decorations. Notable amongst these is KV2, the tomb of Ramesses IV, which has been open since antiquity, containing a large amount of hieratic graffiti. The tomb is mostly intact and is decorated with scenes from several religious texts.Weigall (1910), p.196 The joint tomb of Ramesses V and Ramesses VI, KV9 (also known as the Tomb of Memnon or La Tombe de la Métempsychose) is decorated with many sunk-relief carvings, depicting illustrated scenes from religious texts.
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Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals—where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief. A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
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The cross was discovered in 1912 during archaeological excavations in Anuradhapura. It is cut in sunk relief on the side of a smooth granite column of which a fragment was excavated. An immediate determination about the cross came from the Archaeological Commissioner of Ceylon, Edward R. Ayrton, who concluded that it was a Portuguese cross. In 1924, Ayrton's successor, Arthur Maurice Hocart, put more effort to clarify the cross and he described it in his publication, Memoirs of the Archaeological Survey of Ceylon, as being "a cross of a floret type standing on a stepped pedestal from which emanates two fronds on each side of the cross like horns".
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This method minimizes the work removing the background, while allowing normal relief modelling. The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
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