Egypt is a country where the sun always shines, a charming and alluring land. Everything is fascinating: the great heritage of ancient civilizations, and the clean, warm sea adjacent to the sand dunes. Beauty, covered with a light veil of mystery and enigma.
This is exactly what those who choose the Egyptian interior style try to bring into their home.
Conceptual features of the style
Difficult to describe unambiguously Egyptian interior style. Here, the wealth and luxury of the palaces in which Tutankhamun and Cleopatra reigned are mixed with the simplicity and ordinariness of the decoration of the poor peasant’s home, and therefore the overall picture amazes with the originality and originality of the solutions. 
One thing remains unchanged: a mandatory element of decor in such an interior should be symbolic details. Everything that, at first glance, makes the guest understand that he is a visitor in the house of a person who has fallen under the spell of the “pearl of the east.”
The sun, lotuses, sphinxes, pyramids, pharaohs, cats in any design, from wall decoration to decorative items (vases, lamps, figurines) and special geometry of patterns, recognizable by both connoisseurs and ordinary people – two distinctive features Egyptian interior style.
Colors: dominant and accompanying
In such an interior there is no place for a faceless gray color, nor the impeccable white color scheme. Nature reigns here. Rich yellow, orange, slightly calmer beige, sand, ivory - these are the shades that emphasize the warmth and harmony of the beauty of Egypt. 
What else conveys the flavor of this country?
- Of course, gold. In combination with colors such as chocolate, dark brown, black, blue or green, it begins to “play”. This framing makes the gold color especially attractive. 
Everything is sunlit, saturated with treasures and framed by nature (sea, palm trees and sand) - this is the main message that dictates the color scheme of the interior, decorated in Egyptian style.
Egyptian style in the interior: decoration and materials
Once again about the main thing: the Egyptian style in the interior is a mixture of poor and rich, and therefore they are suitable for decorating premises as expensive materials, and their less expensive analogues. It is important to take into account the main points, namely:
Furniture: features of furnishing elements
Furnishings in Egyptian interior, rather heavy and heavy than light and graceful. Preference is given to massive objects; if it is a bed, then it is large, with a cornice or canopy; if it is a chair, then it is upholstered in leather, stable and comfortable.
The peculiarity is that all the furniture is not devoid of decorative elements. Legs in the shape of animal paws, chests and chests of drawers, painted or decorated with gilding, with ivory inserts, tables and cabinets with glass table top- all this is inherent in the Egyptian style. Both beautiful and made to last. 
Of the materials, preference is given to wood of a dark brown or black shade with a glossy surface.
Textile
Textiles are indispensable in Egyptian interiors. This is perhaps the most important attribute of this style.
No - frills and ruffles.
Curtains, canopies, pillows, rugs and other fabric products have clear shapes, complemented by the beauty of color and originality of the pattern in the Egyptian style. 
No - to synthetic raw materials.
Only natural materials: wool, linen, cotton.
Egyptian style in the interior - photo
- Style Features
- Predominant colors
- Finishing
- Furniture
- Decor elements and accessories
Egypt is a beautiful country that has long attracted tourists with its rich history, monuments, beautiful landscapes, luxurious palaces, and lush interiors. Egyptian style in the interior is chosen by lovers of the exotic or people fascinated by the traditions of this country.
Style Features
The rulers of this distant country loved to surround themselves with luxurious things. Gold, gems, unusual expensive fabrics are a distinctive feature of the palace of any pharaoh. Of course, the decoration of the rich palaces was completely different from the homes of the poor. And today, what could be found several decades ago in the homes of wealthy Egyptians, most often you will not see in the homes of wealthy residents of modern Egypt. But, nevertheless, designers highlight the following distinctive features of this style:
- decoration various surfaces frescoes, paintings, symbols of Egyptian culture (sphinxes, pyramids, lotus, sun);
- the use of various architectural elements indoors (columns, semi-columns, arches, niches, podiums);
- a lot of textiles, carpets with ornate patterns, symbols Ancient Egypt, geometric patterns;
- predominance of neutral colors.
Predominant colors
This lush and rich style is dominated by shades of sand, beige, yellowish, orange, and ivory. Walls are often painted in them. Blue is the symbolic color of the Nile River, sacred to the people of Egypt. Ceilings are painted this shade. This color is often combined with terracotta and green tones.
The golden color, perfectly combined with dark brown and black tones, makes the interior truly royal.
This style is also characterized by white walls. White color is cool and refreshing on hot Egyptian days.
The interior should be filled with floral ornaments (lotus images, grape leaves, laurel wreaths, palm branches, etc.). They are applied to all surfaces
Finishing
If you decide to decorate your interior in a historical Egyptian style, then get ready to spend money on expensive finishing materials.
Today, imitations of expensive materials are often used in Egyptian interiors.
A very simple option is an ethno-country style interior, when you need a lot of textiles, various home accessories and little luxury.
In the first two cases, columns with a capital, half-columns are a mandatory element of the interior. They don't have to be made of stone. Now they are made of polyurethane, painted in various colors, decorated with various ornaments of the corresponding theme.
Modern Egyptian style often uses false columns. They are depicted on the surface of the walls with paints.
The walls are also painted white, decorated with marble, granite tiles, large-format artificial stone.
Another option for decorating walls is applying decorative plaster followed by painting. Frescoes will become a real decoration of any room. Walls and floors are often decorated with mosaics.
In an ethno-country interior, the walls are decorated with straw wallpaper or wallpaper imitation papyrus.
The ceilings are painted in rich colors or in the same color as the walls, they are beautifully framed with ceiling borders, frescoes, and bas-reliefs. You can often find ceiling structures, decorated with golden stars, this is a stylization of the firmament.
Various openings (for windows and doors) are made arched or pointed. They are decorated with paintings, decorated with borders with Egyptian ornaments, and painted with stripes.
Niches are usually illuminated and various figurines are installed in them.
Today the floors are like this modern interior made from ceramic tiles. Reed mats, curtains, and animal skin will add grace to it.
Stucco must be used. Today, polyurethane decor is often used (moldings, cornices, etc.). The ceiling decoration will be a rosette or a chandelier in the shape of a lotus. Stucco elements cover the joints of the ceiling and walls. Often stucco is painted in different colors.
In the Egyptian interior (especially in the bedroom), slatted or carved partitions are used. The ceiling can be done the same way.
Furniture
Luxurious Egyptian style in the interior - massive furniture made of natural wood, dark, glossy, decorated with original carvings. It must be decorated luxurious ornaments made of ivory and gilded.
Choose upholstered furniture whose upholstery has a zigzag or striped pattern.
Furniture covered in leather, wicker or carved is preferred for the Egyptian style. The basis of the bedroom interior is a huge bed, with columns or a wooden cornice, with heavy canopies and 1-2 chests.
Decor elements and accessories
For textile elements, linen, cotton or wool fabric embroidered with gold threads is used. Egyptian patterns are always present on the bedspreads and curtains. Textiles with wide stripes will also decorate the interior.
Accessories should also be Egyptian themed. For example, a clock in the shape of a pyramid, various flowerpots, ashtrays with Egyptian ornaments, papyrus panels, figurines of scarabs, pharaohs and the like.
A mirror in the shape of the sun, the most important Egyptian symbol, is often hung on the wall above the sofa or bed.
Several pots with palm trees will add freshness to the interior.
Egyptian style in the interior will surround you with luxury, exoticism and make you feel like a real pharaoh of Ancient Egypt.
Story. Egyptian art. We know little about folk art in Egypt. The king's subjects were slaves who served him tax, that is were serving various kinds duties in cash and in kind. That is why he could erect huge buildings, make all the arts serve them, but, with the exception of the buildings of the small nobility, the king’s buildings were the only works of art in the country. These buildings, corresponding to the worldview of the Egyptians, served almost exclusively religious purposes: the cult of the gods and the cult of the dead. Even from the king’s palaces, little has been preserved. The temple and the tomb were the main creations of architecture. For a long time the numbness of these buildings excluded any possibility of a personal relationship with them; they were spoken of with extreme amazement, as mysterious creatures, but without any inner understanding of their alien forms. And only our time manages to gradually develop a historical understanding of Egyptian art.
In cult temples, mainly in tombs, all the arts of the country are united. Statues, reliefs, every decoration are determined by religion and are entirely subordinated in content and form to architecture. This is how a unity of style arose, intolerant of no deviations and enclosed in the most perfect form.
Story. Egyptian art
The basis of the artistic impression was in this case simplicity of lines and forms, which reaches the point of monumentality due to the fact that these lines and forms grow to enormous sizes. But it was precisely this simplicity that served as an obstacle to the historical understanding of Egyptian art, since the simplest forms were considered at the same time to be the earliest. Primitive man, the savage, has such a freshness of eye, such a direct relationship with nature, that his cave drawings of the Stone Age are purely impressionistic; these are directly perceived and directly transmitted impressions of nature.
The concept of “primitivity”, as the helplessness of any beginning in art, is certainly wrong. Likewise in the East, in Mesopotamia, about the style of art of which we have no clear idea, early art is less limited in comparison with its heyday. So are the buildings. Ancient kingdom Egypt (3rd millennium BC) are no longer only technically, but also artistically at a high stage of development; their roots extend beyond historical times. Initially, the burial chamber and the place intended for worship were placed under one roof. According to Egyptian views, after the death of a person, a spiritual part of him remains, which leads a free existence on earth while the remains remain intact; they took care of her comfort and nutrition, prepared for her or simply drew various food and utensils.
This determined everything necessary for an Egyptian grave: it had to have its own burial chamber in which the mummy was placed, and storerooms with prepared sacrificial supplies. Later, for the needs of the cult, a special small sacrificial place was required in the form of a niche in front of the false door, which in the East symbolizes the transition to afterlife. Such niches were placed in the same grave, and this grave was arranged like a residential building. Gradually the niches grew into a prayer rampart, a rampart into a temple; the room intended for the cult was separated from the tomb building, and such a tomb building, which until late times retained the shape of a mound on the graves of nobles, becomes a monument at the king’s grave and eventually turns into a pyramid.
Story. Egyptian art
From the gate, which lies in the valley near the Nile, there is a rising, covered passage to the temple; it consists of a courtyard surrounded by columns, a shaft with columns and a sanctuary, located one behind the other; a pyramid adjoins the temple. The whole represents architectural plan perfect unity: each individual building has artistic value both in itself and as a harmonious part of the architectural whole. Reconstructions tombstone Ne-uzer-re (5th dynasty), made by Borchard, quite clearly tell us that in this case there is a certain artistic intention. For us, who perceived Egyptian architecture as mass-produced, such finely dissected plans came as a complete surprise.
In the aesthetic impression that we get from the gate at the Nile, the main thing is not the wall, as was later the case in similar cases, but the entrance shaft itself, the portico with its finely and logically dissected columns, which fully corresponds to the purpose of the building. The temple of the dead and the pyramid are also perfectly coordinated with each other. This is the aesthetic law: the graceful becomes even more refined along with the ponderous, and the massive appears even more energetically in contrast to the graceful, because one becomes for the eye the measure of the other. All parts of the structure are consistent with the whole. The entire building is exclusively tectonic, and as a whole it is subordinated to religious purposes, and each individual part in its place is determined by its functional purpose.
The Egyptian pyramid is undoubtedly the most monumental creation of architecture in general. The essence of the monumental lies in the fact that its forms are simple and do not require subtle sensitivity for their understanding, that they capture at first sight and speak with their simplicity the more convincingly, the larger the size. The peculiarity is that in Egypt this monumentality became an artistic principle at such an early time. The pyramid was built to protect the remains of the king. A hidden room kept them in this mass of stone; A narrow passage led to it, through which the coffin was carried, which was then covered with stones and covered with lining so that it could not be found. But these buildings speak, at the same time, of a monumental sense of an already artistically developed time.
Characteristic evidence is provided by the fact that the kings, who, like other mortals, took care of their tombs during their lifetime, first built a small building; it grew in its plan and structure while they lived, and the more the longer they lived. Consequently, the religious purposes were satisfied by the small monument, and the fact that after construction was completed they immediately continued to build further serves as proof of the desire for higher artistic expressiveness.
Story. Egyptian art
Further development continues beyond the era of the Old Kingdom. Until now, we have followed his progress along the tombstones; from now on, his further path is shown to us by the temple buildings. The technique of building pyramids deteriorates already in the Middle Kingdom, which should be dated to the year 200; Pharaoh does not reign so absolutely, he does not command his people so unlimitedly. The new kingdom, filling the 2nd half of the 2nd millennium BC, no longer knows the pyramids at all. The temple becomes the central point of architectural interest. The three main parts of the temple are the courtyard surrounded by columns, big hall and the sanctuary behind it were already in the temple of the dead of the Ancient Kingdom, but their artistic treatment now becomes completely different.
The difference between eras becomes immediately clear if we compare, for example, the refined structure of the gate of the Old Kingdom with the facade of the temple at Luxor, which was probably built shortly before the beginning of the New Kingdom. Instead of art that acts with purposeful dissection, energetic expressiveness appears. The extraordinary power of these buildings lies in the fact that their character contradicts the character of the soil on which they grew. A typical example is Luxor, where the facade is perceived entirely as a mass; the wall, woven with flat, carpet-like rows of images from the lives of kings and myths about the gods, speaks only as a plane; it must be limited as sharply as possible, it must be energetically closed, because the entire building is defined by a contour.
This is exactly the impression that is obtained in this case, because the lines bounding the wall, rising upward, come closer together, compress it more and more in their vice; the horizontal line of the far projecting cornice vigorously limits the building from the air space above. The cornice is the most important part of Egyptian architecture because it accounts for the most essential function in this limitation of the building. Epochs with a developed sense of decorativeness invariably tried, with the help of vases, statues and other decorative elements of architecture, which they placed on the upper cornice, to make the transition to air space gradual in the building and emphasized the main portal by raising the roof above it as high as possible.
The Egyptian does just the opposite: he closes the building with a strictly horizontal line and distinguishes the portal by lowering the wall in this place. Thanks to this recess, the entrance can only be seen up close. The calm plane of the wall should remain dominant, and the portal should not interfere with it. The portal, to the extent possible, is deprived of the significance that, for example, the portico with columns at the gate of the Old Kingdom era had: it should not serve as a break that dismembers the wall plane.
To be continued…
Story. Egyptian art
