Ancient Egypt was protected by formidable desert barriers and confined to a narrow river valley. It was less subject to outside influences than the other great early civilization in Mesopotamia, and its culture presents, as one of its salient characteristics, a long, virtually unbroken continuity. In an almost rainless country the regular rise of the Nile every year provided the striking example of a renewal of life with each annual flood and gave the Egyptian a cheerful assurance of the permanence of established things, suggesting the acceptance that life would somehow continue after death in the same way. The peculiarly Egyptian concern with the continuity of life after death in a form similar to that which had been experienced upon earth provided an element in the development of the arts which was not present to such an extent in other countries. Thus, while architecture, painting, and sculpture ordinarily appeared in the service of the cult of a god or to glorify the wealth and power of a ruler, in Egypt we find emphasis laid upon providing a lasting dwelling-place for the dead, the re-creation of life magically in pictures to serve him, and lastly the provision of a substitute in stone for his perishable body.
This striving of the literal-minded and keenly observant Egyptian towards the recreation of life for the dead man would seem to be intimately connected with the naturalistic elements in Egyptian art, and is primarily responsible for the impulse to produce portraiture which is a feature of the best of Egyptian sculpture. This worked against the formalizing tendencies which, particularly in Mesopotamia, led more towards the stylization of forms and the employment of geometric shapes. Its naturalistic elements lend a familiar quality to Egyptian art which never seems a wholly oriental creation, although it displays the same approach to representation which is common to all other ancient peoples before Greek times. All pre-Greek peoples give us a kind of diagram of a thing as man knew it to be, not as it appears to the eye under transitory circumstances. In spite of this attitude towards visual impressions, the Egyptian had an instinct to imitate closely what he saw about him. His natural disposition towards balance and proportion, combined with a long-maintained tradition of orderly craftsmanship, strikes a sympathetic note for the Westerner.
The availability of working materials is an influential factor which must be taken into consideration. The abundance of good stone was an advantage the Egyptian had over his contemporaries in southern Mesopotamia, who had to import their stone. The shape and small size of the slabs and boulders available to the Sumerian conditioned the rounded forms and somewhat uneven quality of his sculpture. The Egyptian early learned to cut blocks for building-stone, and the sculptor had a plentiful supply of rectangular blocks from the quarry for his work. This may well be a practical reason for his predisposition towards cubical form in contrast to the rounded, conical shapes preferred . . .