Scarification refers to the process of scarring the skin in patterns by cutting it with a knife. After the cut heals, a raised image is created, and these images are painted. In African sculpture, scarification appears on figures to imitate the system used to differentiate between different tribes.

Rigidity of pose and contradictory perspectives on the human figure are consistent features of most Egyptian, and ancient, figure representation throughout all Egyptian Kingdoms and Dynasties. Contrapossto figures, while present, are likely the result of the influence of foreign artisans and conquerors. Desert aesthetics were matched by depictions of the oasis created by the Holy Nile, and representations of the lower classes were secondary to that of ruling classes. Monolithic constructions, though often the most famous of Egyptian art, namely the pyramids, cannot be said to characterize the totality of Egyptian art, which represents centuries of diverse arrays of styles, mediums, and materials. This question helps students to differentiate between what is a common trope across a civilization's art history versus what pop culture associates with it, or with periods within it. Most importantly, the question focuses specifically on the Egyptian figure. Though the Great Pyramids and Egyptian art are synonymous, the student must focus on what specifically is being asked by the question.

Most African sculpture fits a tribal religious background, often depicting subjects that embody ancestors, spirits, or gods. Carved out of wood and stone, the statues were generally small enough to be relatively portable. These statues were usually human figures, but somewhat distorted in certain body parts, especially in the head and sexual characteristics.

The Yoruba culture of Southern Africa is one of the key artistic hubs of the region, and produces remarkable works in sculpture, jewelry, and masks. One chief feature is the usual focus on the head, which the Yoruba traditionally believe is the home of the entirety of the person. This belief is best reflected in Yoruba busts, which do not even feature necks or shoulders, only the head itself.

African masks are one of the chief examples of sub-Saharan artwork and are traditionally used in various African religious ceremonies. These ceremonies reflect traditional religious beliefs, which are usually based on spirit animism and ancestor worship; therefore, it is thought that the masks often allow the actors to take on something more powerful than themselves, including animals, ancestors, and various kinds of spirits.

African masquerade arts have been crucially important, particularly before the advent of colonialism. They function to serve many of the societies' governmental methods, and they serve to express cultural, dramatic, and artistic purposes. 

During his 17 year reign, Amenhotep IV forbade the worship of any god with the exception of Aten, the power light embodied by the sun disk. This brief period represents a radical departure from what typically comprised Egyptian religion, which was a consistent cornerstone of ancient Egyptian art. An example of this is "Akhenaton Presenting a Duck to Aten."