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The Head of Augustus, that is located in the Metropolitan Museum of Art, is a combination of Roman and Egyptian art. The Roman technique used to sculpt Augustus’ head is highly valued, but it is the Egyptian faience practice that makes this work of art significant. To best understand why this sculpture was created under the influence of these two cultures, a brief review of history is discussed.
Augustus is well known for developing a wide-spread Roman empire that included the provinces of Egypt, Cyprus, Spain, Gaul and Syria. The Egyptian influence resulted from the Battle of Actium in 31 B.C and negotiations with Mark Antony and Cleopatra VII. Egypt became a Roman province under the direct control of Augustus. He ruled as the pharaoh in Egypt and called himself, “the offspring of the gods.”
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The glaze coating could be a variety of colors, depending on the minerals used. Turquoise was the most common color.
Given the influence of Augustus’ love of marble throughout his architectural undertakings, it would be expected that this finer material would be used to create his head. The aristocrats loved identifying marble from different countries, and this interest became a preoccupation of the elite. They wanted knowledge about the origins of each kind of marble. Marble was so prevalent in the Roman holdings that Augustus boasted that he had transformed Rome "from a city of brick into a city of marble."
So, why was faience used? Often, Egyptians used faience-glazed objects in a religious setting such as funerals to honor the deceased by recognizing the blue color as a protective element as they journeyed into their afterlife. Blue also was considered a color that carried the meanings of longevity and prosperity, so that is why it was seen on many sacred objects such as the head of
In this paper I am exploring “Portrait of Augustus as general” and “Khafre enthroned”. From exploring and getting to know the Statues in my Art History Book I have compared these statues (Kleiner, 2013). The first and most obvious similarity between the two is in the artists’ idealization and immortalization of their subjects. Both Khafre and Augustus are portrayed in an idealized manner, designed to give the impression of nobility, timelessness, and divinity. The two statues were the political advertisements of their times that showed the public images of reliable leaders who one
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
Augustus was born in Rome on September 23, 63 B.C. He was originally named Gaius Octavianus, but when his great-uncle, Julius Caesar, was murdered, he took his name. Augustus’ real father died when his son was only four. Augustus was adopted in Julius Caesar’s will and was left to be his heir at the age of eighteen. Caesar was very fond of his grand-nephew and he sent him to the College of Pontifices at the age of sixteen. When Caesar was assassinated, Augustus was in Illyria, where he was sent to serve. It was only when he returned to Italy that he learned he was his great-uncle’s heir.
In regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
Throughout history, the idea of what a ruler is has evolved. In ancient societies the style of leadership evolved from royal leadership to politically appointed emperors. Inheritance of a throne and kingship subsided after Alexander the Great’s world domination. Instead, leaders came to power through political and military prowess, and if their leadership was unsatisfactory they would usually be overthrown. With the evolution of leadership throughout ancient times, came the evolution of art portraying the rulers of the era. The personality and authority portrayed in portraits, employ different means of expression. In the ancient Egyptian sculpture of King Menkaure and his Queen, a tetradrachm coin of ancient Greece depicting Alexander the Great, and the portrait sculpture of the emperor Philip the Arab from Rome, it is evident that portrayal of ancient rulers in art evolves in accordance with the political climate.
Egyptian art is infamous across the world - classified by the monumental pyramids, and the Sphinx. Although these are both valid forms of Egyptian art, they do not make up the entire artistic history of the country. On the contrary, perhaps the most replicated example of classic Egyptian art, from the Old Kingdom, can be found in their rendering of the human form. An interest in portraiture developed early in Egypt. (Gardner, 75) Whether painted on pottery, or cut into rock, the figures all had notably Egyptian characteristics. "The seated statue is one of only a very small number of basic formulaic types employed by the sculptors of the Old Kingdom." (Gardner, 75)
The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
The Metropolitan Museum of Art. ‘Egyptian Art’, The Metropolitan Museum of Art Egyptian Art. New Series, Vol. 41, No. 3, Egyptian Art (Winter, 1983-1984): pp. 1+3-56
As the story goes, Rome was founding in 753 B.C. by two brothers Remus and Romulus who were raised by wolves. The two brothers started fighting over the leadership of the land. Eventually Romulus killed Remus and took control own his own. The city was only a small settlement at that time. As the civilization grew, the Etruscans took over. The Romans drove out the Etruscans in 509 B.C. By this time Rome had become a city. As the empire came to its peak it included lands throughout the Mediterranean world. Rome had first expanded into other parts of Italy and neighboring places during the Roman Republic, but made wider conquests and made a strong political power for these lands. In 44 BC Gaius Julius Caesar, the Roman leader who ruled the Roman Republic as a dictator was assassinated. Rome descended into more than ten years of civil war. After years of civil war, Caesar's heir Gaius Octavius (also known as Octavian) defeated his last rivals. In 27 B.C. the Senate gave him the name Augustus, meaning the exalted or holy one. In this way Augustus established the monarchy that became known as the Roman Empire. The Roman Republic, which lasted nearly 500 years, did not exist anymore. The emperor Augustus reigned from 27 BC to AD 14 and ruled with great power. He had reestabl...
It is molded with faience, which is a paste made of grounded quartz or sand with a high percentage of quartz (Stevens). Egyptian faience is a sintered-quartz ceramic displaying surface nitrification, which creates a bright luster of various colors, with blue-green being the most common.
You cannot use simple coloring pencils or lightweight paint, one method in its history is the art of stained glass. (History of Stained Glass (Stained Glass Association of ..., n.d.) talks about how stained glass gives an accurate feel of attitude for people who is passionate towards the art of stained glass. Stained glass speaks in volumes without sound in chapels to give off a holy yet delicate feeling. It’s been said that there were times of stained glass art that was imperfectly documented back in the 1900s, up to 60 stained glass businesses were listed before the time. None exist and some is known little about them (History of Stained Glass (Stained Glass Association of ..., n.d.). Even though some documents are lost in time, the history of stained glass still found its way in interior design. It’s all started with one simple mistake. (History of Stained Glass (Stained Glass Association of ..., n.d.) Many histories of the stained-glass method were told first through Pliny’s tale. It was an accidental discovery of glass by Phoenician sailors (History of Stained Glass (Stained Glass Association of ..., n.d.) . the legend clams that there was shipwrecked sailors who set their cooking pots on blocks of natron. (natron is a salt mineral you would find in dried up lakes). The sailors use this material from there cargo and stated up fire under it. The sailor slept and overnight the fire’s heat had melted the sand and soda mixture. When morning came the mass of resultant cooled and turned into glass. (History of Stained Glass (Stained Glass Association of ..., n.d.). Glass that was discovered and use goes back to even Egyptian periods where glassed beads between 2750 and 2625 B.C. Glass beads then was made off a winding string of molten glass around a clay core that was removable. Colors such as moss green, greenish white, or tobacco yellow gives off a bright sensation with
Octavian, or Caesar Augustus, was an effective ruler, implementing reforms that positively affected virtually all areas of life throughout the Empire. Social, economic, and political tensions that had led to so much violence in earlier years were calmed by Augustus's policies. Corruption and abuses of the people were also given attention by the Emperor. The borders of the Roman Empire grew dramatically under Augustus's rule, adding material wealth and manpower to Rome's already significant resources.
Here, we will be looking at a rendition of the high marble statue of Augustus Caesar known as “Augustus of Prima Porta.” Originating from 1st Century A.D., it is said that there is a possibility that the original sculpture could have been of greek descent. Upon a general overview of the sculpture, one can see that Augustus fulfils a millitarial role of some kind. From his very stance to the garments portrayed on him, Augustus is draped in a decorative cuirass and a tunic, accompanied by a figure of Cupid clutching on to his right calf. After taking the general themes of the work into account, one can then began to start unraveling the many symbolic elements embedded into the sculpture that allude to godly themes. Starting from the crown of his head, the very chiselment and structure of his face gives the work a youthful element to it, even though some say that Augustus was around 40 years old. A recurring theme within Greek and Roman culture is the matter of godliness and immortality amongst idolized figures themselves. This idea is usually depicted by displaying powerful human being in a younger light. This