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Traditional african art works
Traditional african art works
How religion is expressed in art
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This carved schist shows Avalokitesvara, the Bodhisattva of mercy and compassion. The divine statue is standing in front of a nimbus while clutching some sort of garment in his left hand. Most of his right arm seem to have fallen off. Only his lower body is is cover in clothes. He is also wearing several neck less that are attached to his ears as well. On the base of the statue four other Bodhisattva’s are carved surrounding someone who appears to be Buddha. Buddhism followed the concept that there are many Buddhist divinities that inhabit the heavens. They believe that take earthly forms out of compassion to help others attain enlightenment. These are known as Bodhisattvas or “Buddhas to be”. These Bodhisattva are viewed similar like saints in the christian community. The most popular Bodhisattva is Avalokitesvara. Bodhisattvas refrain from entering nirvana to complete their goal of helping every soul reach enlightenment. Avalokitesvara is depicted as a woman atlought most Bodhisattvas are males. Even though she is worshiped and honored by many she is not Buddha and still prey to him like the bottom of the schist shows. In this Bronze statue, a Roman emperor is shown in a god like state. Like any statues at the times they depicted the ruler in a larger than life state. This specific statue is missing the head and lower part of the right leg. He is rising his right arm while the left is resting on his hip. Its exaggerated proportions depicts the ruler in a perfect state most likely disregarding his actual appearance. The Classical style helped many emperors and rulers be conveyed as larger than life and being god like. Like most statues and figures the model was nude with symmetrical body parts. At that time athletes trained... ... middle of paper ... ...itioned to the side of her face rather than the front. The right arm is being held up which can symbolize authority. Although there is no color the body and hair look like they are cover in jewelry. In 1931 archeologists uncovered sculptures from the village of Nok present day Nigeria. This was the first time the Western Sudan was investigated. Hand made figures were discovered depicting people and animals made out of terracotta. Believed to be made during the first millennium the terracotta did not preserve well causing the figure to break apart leaving only the heads intact. The heads of these Nok figures were individualized to show tribal rulers. The size of the nostrils and mouth were used to describe how well respected and powerful the ruler was among the community. It is the first representation of the traditional African art that civilizations portrayed.
It is from the Neo-Assyran period during 883-859b.c.e. The highest relief would be its head. The writing was all around the statue in a different writing. It is very big and tall. It is on a good portion of the corner of a hallway. It looks kind of cool with a bull’s body with wings and a human’s head on it. The face is kind of funny because of the beard I guess if long and real even. The human-headed wing bull had five legs.
Both figures are in a very traditional, standing pose for the time period in which they were created. The sculpture of Augustus is based on the Greek classical statue of the Spear Bearer or Doryphoros by Polykleitos. He is standing in contrapposto, a very classical standing pose wherein the weight of the body is shifted naturally so the figure’s weight is more on one leg, with the other leg slightly bent behind and the hips tilted. Mycerinus and Kha-merer-nebty II are both in the standard Egyptian canon standing pose, in which the figures are rigidly frontal with the pharaoh’s arms down at his sides and fists clenched. Like Augustus, one leg is slightly ahead and one is behind, but there is no contrapposto, the figure’s weight is shared equally by both legs and the hips are squared and level.
Augustus’s statue portrayed him as an individualistic faction leader and tended to be more idealistic. For example, although he did start ruling as a youth, at the age of 18, his face was, continually, throughout his life, shown with youthfulness and vibrancy. He also had an archetypal body type of a hero and is shown with the omission of his boots, a reference to the ideal heroic statue. Lastly, there is a dolphin riding Cupid at his ankle which reminded the viewer that he was of divine descent. However, there was a limit to which he could exalt himself. He could not promote his individual character and will above the Roman public which would call for distrust and resentment.
The Augustus of Primaporta depicts the emperor standing with his arm raised and with all his weight shifted into one foot. This is slightly different than the Votive Statue of Gudea, both positions are symbolic of the way a rule from each time period would have addressed troops. Augustus, along with his youthful features, is exactly how Augustus would have wanted to be remembered. This is also true of the Votive Statue of Gudea. There are many other symbolic details that relate to mythology and history incorporated into the statue of Augustus.
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
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.
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
I chose this sculpture because I was intrigued by the position of the man and the centaur. I was able to witness that the centaur is trying to invade the personal space of the man. The sculpture showed me that there is a strong relationship between man and creature. The quality of the sculpture made me realize that animals play a big part of a human’s life and can be seen as threatening to humans. It was interesting to see that both the man and centaur were created to have almost of the same structures. This statue has a metallic brown and green, bronze tone and appeared undersized. It has a height of four and a half feet, and six inches. It has long, thin, legs with calf muscles, and bulging thighs. The sculpture evolved from Olympia, Greece. The man and centaur sculpture was created in 750 BCE during an orderly time period. The colors used for this sculpture, proved that it has a longer lasting mold for statues. On the left side of the sculpture, the man has a wrap on his head, that can symbolize, he is some form of a god. On the right side, the centaur has the same head piece as the man, but the body of a horse. It can be seen that the man and
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)
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
This stone sculpture is a naked human-like figure standing six feet tall. The body is in chiasmos stance with the left leg slightly bent and the left foot slightly behind the right. The head is turned slightly downward and to the right, and its size is approximately 1/6 of the body. The hair is cropped closely to the head with no part. The body has a defined musculature, however the forearms appear to be missing. There is an object behind and to the right of the right leg that is about 2 feet tall and 10 inches wide.
... right is the only part of the painting that has gold leaf in it, on her gown, what looks to be a gold collar, and a gold necklace with a pearl. The gold she is garnished in represents royalty and the holy. An interesting illusion is seen the left angel’s hair and how it’s illuminated by the sun creating a halo.
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
...ws the transition from archaic to the classical period. The Roman’s continued with a more realistic style with such statues as Aristocrat with Ancestors and Marcus Aurelius. In wall paintings at Pompeii the artists used great color and realism on the people’s faces.
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