盖蒂别墅博物馆博物馆和lacam通知后，我发现了几个文化木乃伊的绘画和雕刻的有不同的表现。很明显我从埃及木乃伊上画有一个抽象的结构，但人的脸是清楚的木乃伊上[ Fred Kleiner， 加德纳艺术千古：西方视角，第十三版（波士顿，马萨诸塞州：沃兹沃思，2006）]。因此，很容易识别谁是它的人。我更感兴趣的方式，这些绘画是不同的，在不同的文化，如埃及和罗马。我更感兴趣的是了解基督教的角度揭示了生命的性质，从死亡的帮助下，这个选定的艺术对象。
herakleids未知的从罗马埃及时代在埃及约公元150由麻、色素沉着、木材温度和黄金。相同的测量是69×5 / 16×13英寸，91。美联社。6。
木乃伊的对象属于罗马埃及时代结合把死者按照埃及的传统随着罗马传统的个人写照旧千年。这两种传统的混合描述民族文化对于罗马[ Herbert E. Wernlock省埃及流行的多样性， 图坦卡蒙的葬礼。第二版。（纽约：大都会艺术博物馆2010），1-80。
Visual analysis helps in presenting the important reflexes that are generated in the mind when perceiving an object or an art work. An effective visual analysis is done only when an object is constructible from its mere analysis provided. This essay has been based on an art object selected, the Mummy in order to focus on the different perspectives on life after death present in the cultures of Romans, Egyptians and Christians. In order to further present the detailed visual analysis of the Herakleides, the analysis will be based on different elements, beliefs and considerations with respect to the object of art.
After vising the Getty Villa Museum and LACAM, I discovered that the paintings and carvings made on the Mummy from several cultures have different appearances. It was evident to me that the paintings on the mummy from Egypt has an abstract structure but the human face is clear on the mummy[ Fred Kleiner, Gardner’s Art through the Ages: The Western Perspective, Thirteenth Edition (Boston, Massachusetts: Wadsworth, 2006)]. It becomes easy therefore to identify who the person in it is. I am further interested in the way these paintings are different with respect to distinct cultures such as Egypt and Roman. I further am also interested in understanding the way Christian perspective reveals the nature of life after death from the help of this selected object of art.
Name, measurement and time period
Herakleids by the Unknown from Romano-Egyptian times in Egypt approximately in A.D 150 made from linen, pigmentation, wood tempera and gold. The measurements of the same are 69 x 17 5/16 x 13 inches, 91.AP.6.
The mummy object belongs to Romano-Egyptian era combining the old millennia of mummifying the dead as per Egyptian tradition along with individual portraiture of Roman tradition. The two traditions being blended describe ethnic and cultural diversity popular in Egypt with regard to the provinces of Rome[ Herbert E. Wernlock, Tutankhamun’s funeral. 2nd Edition. (New York: Metropolitan Museum of Art 2010), 1-80.
]. The portrait of this painted mummy has depicted a young individual. Unlike most of the portraits of mummy, there is no visibility of clothes on the shoulder of the individual.