Comparing the Statue of the Royal Scribe Yuni and the Statue of St. John of Patmos Upon viewing the statue of the Royal Scribe Yuni (33.2.1) and the “Gothic stone” statue of St. John of Patmos (17.120.4), I noticed the few similarities and many differences they possessed when compared with one another. Both works reflexed the style of artwork done during it’s period. The statue of the Royal Scribe Yuni was found in the tomb of his father, Amenhotep. In this sculpture Yuni is shown kneeling and holding a highly decorative carved shrine. Within this shrine is a miniature figure of Osirus, the god of the underworld. Yuni is dressed in what is considered to be costume for persons of high status at the time, such as a curled wig and papyrus sandals. He wears a double-strand necklace of large lenticular beads known as the “gold of valor”. Two holes located at either side of his neck may have been for the placement of the “real garlands”. The statue of Yuni once had eyes of semi-precious stone in metal sockets. On either side of the back pillar lies a relief of Rennutet, Yuni’s wi...
Both statues are double portrait with two figures standing side by side. They are joined together to create one single unit with a frontal pose. Both statues are reliefs that are united to their wife as a symbolic gesture of embrace. Yuny and Renenutet medium is limestone and paint, meanwhile Menkaure and his wife medium is greywacke. Menkaure and his wife is wearing a royal traditional custom emphasizing power through headdress, beard, and royal knit. However, Yuny and Renenutet is wearing a less traditional custom, but more fashionable emphasizing the importance and power through head gear and clothing only. Individually Yuny and Renenutet and Menkaure and his wife has many similarities and
Carved from alabaster the over-life-sized statue shows a idealized depiction of ruler Khafre sitting eloquently in his throne. Riddled with indicative symbols and motifs the written language of the ancient Egyptians allows for historian to interoperate the meanings and purpose of the sculpture, and decipher the statements of divinity and the king power left behind by this ancient people. This funerary statue represents Khafre’s eternity a well as utilizing the expensive material as a testament of his importance and
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
The object of this book, Early Medieval Art, is to convey the theme “tradition not only receives and transforms, it literally invents a tradition upon which it founded itself” (p. 15) concerning art of the early medieval era. The purpose of this book is to summarize and offer knowledge of medieval art, that will then be included in the greater series of books by other specialists for Oxford University Press. Lawrence Nees accomplished his argument successfully by following the chronological production of the art and the traditions that are imbedded within them. Although, his thesis is strongly supported, Ness’ failure is found in his over reliance on the artwork itself, which then leads to the masking of his personal arguments.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
This sculpture is quite spectacular. According to the display plaque, the sculpture shows four events happening all at once. On the far left is St. Peter who has just cut off the ear of Malchus (the servant of the high priest and seated in front of St. Peter) is "sheathing" his sword. He seems to be very content with what he has just done, but then if you look closely at the right side of Malchus' head, you can see a hand holding his ear. That seems to be Ch...
When beginning my sketch, I took a moment to analyze the work of art and found that the statue illuminated a sense of serenity. Like most viewers my initial reaction was to explore the statue from head to toe as I sought out the different elements and principles of art. The statue was close to life-size and just about my height, so looking straightforward we were eye to eye. I noticed the softness gathered about the facial structure, but all the same time the depth and complexity that was engulfed around the muscularity of the body. The rigorous symmetry was accounte...
Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
Description: A coffin. It is normally two pieces, a top and bottom, but it is now contrived to look like one cohesive piece. The coffin has a realistic face that is uniquely colored green with a beard that is plaited (braided) and turns upward. These attributes are done in homage to Osiris – who is said to be the Lord of the Underworld and the god of resurrection. The head of the coffin has been adorned with a traditionally worn Egyptian nemes headdress and a traditional collar necklace trimmed in tear drops is placed around the neck area. The bodily outlines are subtle, but in close examination, you can see the meticulous efforts added by the sculptor. This coffin is lucid, but uses line in remarkable patterns for detail. The base of the coffin has a prayer to Osiris along with the name of the deceased inscribed. This artifact represents Horankh’s coffin for his bodily remains.
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
Let’s begin with what was going on during the time period for each sculpture. During the 2458-2446 BCE. Userkaf was thriving over his brother Sahure, and he became the new ruler of Egypt. In the start of 2446 BCE, Neferirkare beings his dominant over Egypt. King Sahure and Nome God is a high relief it is still attached to a surface of a stone. The Pharaoh sitting on his thorn wearing a Nemes headdress (it is usually blue and gold striped), fake beard. The king has an emotionless facial expression. It was made for a decoration for the king pyramid complex. The symbol behind this statue could be the gathering of the Nome gods form Upper and Lower Egypt around t...
On Menkaure and Khamerernebty there are negative spaces between the two bodies which were not removed very much like the back of the head of Amun, this was done most likely to add support and structure of the statues. The statues sizes are both small in comparison to a normal person’s height or head size. The head of Amun and the statue of Menkaure and Khamerernebty both made of the similar dark granodiorite stone. The faces on both pieces have a straight forward facing look outward not capturing an action, but to install a sense of immorality. Other comparisons like expressions being plane and the balance of the ears nose and eyes which the carvers delicately etch from the rock.
The Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
Thesis: Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction offers St. John the Baptist more flexibility in design and style. Still, their likeness and variations extend far beyond the realm of their design.
The statue of Khafre is an example of how pharaohs utilized their wealth to elaborate the power they possessed while they were alive and to utilize while they were dead. They ordered statues to be made in their name to decorate the valley temple. The valley temple is a funerary setting in which Khafre ordered 23 statues to be made for it. In this case, Khafre’s statue was made and place near the