頭部可以從側面看得清楚，﹝包括鼻、耳、口﹞但是眼睛則應從正面看才不失真，因此就把一隻正面的眼睛畫在側面的頭上。上半身則以正面表現，下半身則是以側面表現即可。

古埃及雕像的也採用「正面性法則」的共同特點，所謂「正面性法則」是頭部、軀幹和兩腿必須保持垂直 ，以雕像的鼻尖和肚臍連成的線作左右對稱，不論坐姿、立姿都依照這原則，符合「死後再生」的理念；這是觀念性的表現而不是實際觀察的結果。

Writing a Scribal Monopoly
在 Saqqara 發現的書記官坐像，表現正面性法則，坐姿雕像的雙手必須放在膝上。


 
Cairo Antiquities Museum.
而在形象的配置上，畫中男人的膚色要比女人的更黑； 

 
http://ceiba.cc.ntu.edu.tw/fineart/database/chap19/chap19-01.htm

Fowling Scene from Nebamun\'s Tomb, West Thebes. 18th dynasty, 1400 BC. British Museum, London

Nebamun was a nobleman who lived in ancient Egypt during the 18th dynasty (around 1400 B.C.). In this scene he is shown hunting for birds with his wife and daughter.

A painting from the tomb of Nebamun, an official in the city of Thebes, in the XVIII Dynasty, Middle Kingdom, 3,400 years ago. He was a scribe and grain counter. He hunts on his boat with his family and his fat tabby cat (center). Egyptians hunted birds with throwsticks (like boomerangs) as here, and antelope, wild bulls, and oryx with bow and arrow. On the riverbank sway papyrus plants (Egyptian paper, our word \"paper,\" and Nebamun\'s boat all came from papyrus). The Sphinx was already worn with age, and the Great Pyramid of Pharaoh Khufu (Cheops) was 1,100 years old. Boy Pharaoh Tut-Ankh- Amen was still far in the future New Kingdom.  

Nebamun\'s wife
Nebamun\'s wife is dressed as though she is going to a banquet. She wears jewellery around her neck and arms, as well as a cone of perfumed wax on her head.


Nebamun\'s daughter
Nebamun\'s daughter wears her hair in a \'sidelock\' which was a sign of youth. Although she is a child, she wears earrings and a fancy necklace called a \'collar\'.

Nebamun\'s daughter would not have gone hunting and fishing with her father. However, she is shown in this picture because Nebamun would have wanted his family to stay together in the afterlife.

處理人物時，以體積之大小顯示其較尊貴的身分 。阿曼連罕墓內之狩獵壁畫，主要人物特大，Nebamun 站在船上，右手握著三抓到的水鳥，左手拿著打用的投棒。右側為其妻子，頭上頂看香油，下方為其女兒，皆側面、大眼、尖鼻、全肩顯露、線條分明。色彩極為鮮艷，背景以藍色為主，缺乏景深，且無空間。主角右腿前方有一獵貓協助主人狩獵。尤可注意者為魚、鳥等物皆細膩寫實，甚為生動形似，因此在這樣一張圖中，常常包含著很清楚而生動的故事。 


 
Akhenaten and His Family, 1348-1336 BC
Staatliche Museum zu Berlin 

沒有人要求任何不同的東西，沒有人要求他應有「原創性」；相反地，他越能使雕像與大家欽慕的昔日紀念像相似，便越能被視為最好的藝術家。所以三千多年的埃及藝術，幾乎沒什麼變化。只有一個人曾經動搖這個鐵律，那就是「新王國」--時代，Amenophis Ⅳ，他是個異教徒，也打破了許多古老的習俗。用太陽形像代表他只崇信的阿頓(Aton)，並隨其名自稱 Akhnaton。 他讓畫家所展現的這幅Akhenaten and His Family 必定震驚了當時的埃及人，畫中沒有早期法老所共有的莊嚴高貴氣度，反而是陽光照耀下與太太 Nefertiti一起逗弄孩子的情景，Nefertiti太太的大小與他比例相當。 粉多畫中也顯示了他是個醜男子，也許是他堅持讓真實形貌流傳。            


 
Akhnaton的繼承人就是倖存黃金面具的 Tutankhamen，Tutankhamen 的墳墓於1922年出土，有些仍保留了「Aton教」的風格，太太的手溫柔的搭在他肩上，太陽神從上方賜福給他們。     不過.......在嚴厲的保守派眼中，法老大人這付懶洋洋癱在椅子上的姿態.......大概會被認為是.........有夠給他可恥滴 .......