How to place a different background image on each part of a book?

Part 2 of the other post : what could be helpful?

• In ancient Egyptian society, conformity and not individualism was encouraged, and there was hardly a place for an artist with a personal vision that broke the accepted norms. In fact, Egyptian artists usually worked in teams and according to strict guidelines, even though their works might be highly regarded. This does not mean that artists could not experiment and innovate within certain limits. To understand most of the Egyptian artwork that we see in museums and books, we must understand that it was produced by elite Egyptians, mostly for specific functions, and that it was an integral part of their world view. It is important that we understand the purpose of the artwork, or the concepts that shaped it, because a lack of such information has often led people to unfavorably compare it to the art of other cultures. For example, while the ancient Egyptians produced sculptures that were intricately detailed and lifelike in many ways, they never turned the body and twisted it through space as we find in classical Greek statuary. Egyptian artists sometimes got left and right "muddled, and never seem to have discovered the rules of geometric perspective as European artists did in the Renaissance. In fact, such shortcomings had little if anything to do with the ability of the artists, and everything to do with the purpose for which they were producing their art. Egyptian art was not intended to merely imitate or reflect reality, but to replace and perpetuate it. Hence, for example, the religious ritual known as "the opening of the mouth" was not just performed by Egyptian funerary priest on the mummy of the deceased, but also on his or her statuary. Egyptian art was concerned above all with ensuring the continuity of the universe, the gods, the king and the people. The artists therefore depicted things not as they saw them but as idealized symbols intended to be more significant and enduring than was otherwise possible in the real world. The best, most inspired Egyptian art therefore blends the real with the ideal. However, such statues were not produced as pure art, but rather to play a primary role in the cults of the gods, kings and the dead. They were places in which these beings could manifest themselves in order to be the recipients of ritual actions. Hence, it made perfect sense to show the statue looking forward at what was happening in front of it, so that the living could interact with the divine or deceased recipientIn fact, hieroglyphs were small images drawn according to the principles that underlie Egyptian two dimensional art. Nevertheless, the images often do not resemble the objects that they describe, but are phonetic, representing different consonantal sounds in the Egyptian language. However, other hieroglyphs are logographic, representing literally or metaphorically an object or idea. Interestingly, hieroglyphs can act as determinatives. That is, they are placed at the ends of individual words to "determine" a category. For example, the name of a man may be followed by an image of a man identifying the word as a man's name. However, so clearly connected is art and hieroglyphs that when a figure is identified by its name in hieroglyphs, the expected determinative is usually omitted because the picture the name identifies acts as its determinative. Limestone and other soft stones were carved with copper chisels and stone tools. Hard stones were worked by hammering and grinding them with tools made of even harder stone together with sand, which is basically quartz, acting as an abrasive. Stone vessels were hollowed out using drills with copper bits, together with an abrasive. These tools were also used to apply details and inscriptions to hard stone monuments. Afterwards, the finished object was polished with a smooth rubbing stone. If the stone was to be painted, the surface had to be smoothed and any holes in the stone or joints between blocks filled in with plaster. Scenes on stone surfaces were often cut into relief before painting (or when not painted at all). There were two main types of reliefs, consisting of raised and sunk relief. In both, chisels were used to cut around the outlines of figures. Then, in raised relief, the stone of the background was cut away, so that the figures were left standing out from the surface. In sunk relief, it was the figures that were cut back within their outlines, leaving the surface of the background at a higher level. In both methods, the figures were modeled to a greater or lesser extent within their outlines. Traditionally, sunk relief was used on outside walls and raised relief on interior walls, because bright sunlight has the effect of flattening raised relief and enhancing sunk relief. It should be noted that such work could also be applied to plastered surfaces on soft stone. In Theban tombs which were often simply painted, as opposed to relief-cut, rock cut walls, the walls were first covered with mud that was then plastered before paint

• Answer:

  the text is plagued with a posteriori bias