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Ancient Egyptian artwork
Cultural comparisons between egypt and mesopotamia art
Cultural comparisons between egypt and mesopotamia art
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We are going to compare and contrast the two comparatively different sculptures originating from ancient kingdoms, a bit contemporary and not so distant from each other – the pair originated from old kingdom of Egypt during 4th dynasty around circa 2575–2465 B.C. and seated Gudea from Neo-Sumerian kingdom of Mesopotamia around circa 2090 B.C. (The Metropolitan Museum of Art, n.d. /n.d.). This analysis would to try to explain how successfully the appearance of the sculptures accomplishes their purpose of creation. Introductory Review A feeling of physical roughness and generalness is apparent from the piece of Memi and Sabu implying that they are not from a royal or imperial background, but at the same time the very fact that they were commissioned …show more content…
The Gudea’s height and width is relatively short, 17 3/18 and 8 ½ inches respectively as compared to Memi and Sabu’s which is 24.7/16 and 9 5/8 in inches respectively. This seems to be due to the seated nature of Gudea’s statue. In case of physical depth the Gudea’s sculpture takes the lead by 5.7 inches. The depth of Gudea’s statue is not that clearly apparent as is perceived by its line of sight inquiry when compared to Memi and Sabu’s, which seems to be having greater depth due to its extra height and width. Usage of Color and Materials The black color of diorite’s extracted Gudea statue is in complete opposition to limestone-sculpted and painted one of Memi and Sabu. The choice of materials also depicts the huge difference in social statuses of both figures. Diorite conveys a symbol of strength, rarity and power whereas limestone, as a choice of material, seems less representative of these characteristics or of any special significance. Both satisfy the peculiar specifications and design requirements of respective statues. It also shows that black colored materials were the prime choice for portraying power and nobility in Mesopotamian culture. Visual
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.
The Guanyin sculpture depicts a male, interpretable by his male chest, seating in a royal-ease pose. He has a crown, which has a person in the meditative position carved on it. That person could be Buddha. Underneath the crown, the hair looks as though it is nicely braided along the edges of the crown. The eyes are partially closed. There are two pieces of objects, perhaps used to depict jewelry, attached to
In the Ancient Middle East, the Roman time periods brought about many different works of art. The Votive Statue of Gudea, an Ancient Near Eastern work, and the Augustus of Primaporta, a Roman work, are good representations of art from their respective time periods. The two works have many similarities and differences within their formal elements, iconography, and historical significance to the time periods in which they were crafted. The Votive Statue of Gudea and the Augustus of Primaporta have similar formal elements through their subjects and differ through their styles and size. The Votive Statue of Gudea is a statue of Gudea, a ruler in the Ancient Near East.
The two works of art that have been chosen to compare and contrast are The Palette Of Narmer and Apollo of Veii. The Palette Of Narmer dates back to the Hierakonpolis Dynasty 1 in 3100 BCE. The Palette of Narmer is interesting because it is the oldest historic work of art that names a person, and is the earliest piece of art that uses hieroglyph. This artwork depicts the dawn of a new age of man and his use of writing and pictographs in art. The statue of Apollo, from Veii comes from the Etruscan art period Apollo was created around 500 BCE. It was created by a very popular sculpture of his time, by the name of Vulca. The delicate technique of firing clay is fascinating. A sculptor of Vulca’s ability was required to know how to construct a large figure so that it did not fall under it’s own weight. He had to know how to precisely regulate the temperature of a kiln large enough to fit a statue of almost 6 ft tall, for a long period of time. The fact that to this day, Vulca is the only Etruscan Sculpture whose works of art have survived the test of time, show his genius in his creations.
The following paper objective is to present the funerary stela of Ta-Khaa-En-Bastet, kept at the Cincinnati Art Museum. The stela’s accession number is 1947.392 and is possibly from Abydos because of its imagery. The stela dates back to the Late Period of ancient Egypt, which is 664-332 BC. This funerary stela helps to provide data about the funerary practices and the responsibilities women had in ancient Egyptian society.
Also, the sculpture named Kroisos (Kouros from Anavysos). ca. 540-525 BCE. Compare with the Kouros, both of them are freestanding, painted sculpture. Kroisos has a greater body than Kouros, and I can image that the flesh, sinew and bones inside the stone. And as for Kroisos’s facial expression is more naturalistic than Kouros. His lips are drawn up that becomes an artificial smile, I mean the archaic smile, but not reflect in his
Two main devices used in Egyptian art from the fourth dynasty, that also help classify it, are a strive for naturalism and the use of sculpture in the round. In addition to the large burial monuments being built, portraiture became quite popular at this time in history. Paintings featuring humans used their own form of "sculpture in the round" by painting in ...
Many humans have been interested in different forms of art throughout all of history. Countless people have spent endless hours researching, studying, and learning about different pieces of art. Although each piece of art is unique to in own appearance, time, and meaning, many similarities can be found. Stonehenge and the Great Pyramid are two historical works of art that can be studied via comparison. Looking at the two pieces, many differences and similarities can be observed.
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
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...
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
The pieces of sculpture are both carved using the subtractive method of sculpting from stone. However, the types of stone used were very different. The sculpture of Mycerinus and Kha-merer-nebty II was carved from a stone called greywacke, a dark colored, very hard stone the Egyptians prized for sculpture despite the fact t...
Sculptures were one of the most important things in the Egyptian world. They were important because they had a very important function in the tombs as substitute for the mummification. These were made out of wood, clay, and other different materials, but the majority of the statues were made of stone. Some examples that are in the textbook of the sculptures are Khafe, and the seated scribe. Khafe was an enthroned divine ruler with a perfect body. The pose he is making is of complete stillness which showed off the body, this sculpture was made out of the stone called diorite which is a dark stone, it was hard to get as they had brought it 400 miles from the Nile River. The Seated Scribe was characterized as the portrait of the Egyptian god-kings didn’t extend to the portrayal of non-elite individuals. He had signs that he was aging which is a sign that is inappropriate for an Egyptian to age they should stay nice and young looking like Khafre did but the seated scribe was different then him. He seemed to be more relaxed and not worried about what he looked like but how he lived his life. The painting I thought was the most interesting was Goats treading seed and cattle fording a canal because it was showing how they used the Nile River for the passage to the afterlife and how they were combined with stereotypical poses for the human and aminals with unconventional postures and such detail to the
The best bronzes that have been found have all been recently discovered and recovered from ancient shipwrecks.The Antikythera Youth was recovered from the same shipwreck as the Antikythera device. The basics features of Classical Idealist sculpture is rooted in simplicity of form and the illusion of movement. Unlike the Sounion Kouros and Archaic sculpture, which all had a stiff fixed form, Classical Idealist statues were open (Briers 1980; 214). The simplified bodily features are evident in the static anatomy of Classical sculpture, as muscles are not shown to be expanding or contracting (Briers 1980; 216) Movement is alluded to by the positioning of the arms and the contrapposto stance, often with one leg placed back at an angle balanced on the toes (Briers 1980; 223). By positioning the leg this was the entire body is moved slightly angling the hips all the way up to the shoulders and neck. While there is not direct movement of the sculpture, this contrapposto stance gives the illusion of movement. Like the body, the face of these sculptures followed specific guidelines the style taking its name after the sculpture Phidias. The Phidian face as it is called shows no emotion, always portrayed in a stoic and calm rendering, a flat forehead flows down to the nose with no bridge (Briers 1980 216, 218-219). All of these features of Classical Idealism are present on the Antikythera Youth, creating a sculpture that may not be realistic, but a sculpture that captures the eye and peaks one’s
Although one might think that the two statues are similar in size, they couldn’t be anymore different. The statue of Gudea is a representation of the ruler of Lagash, an ancient city-state in lower Mesopotamia. Gudea ruled during the Sumerian period 2150-2125 B.C. The statue standing no more than two-and-a-half feet high, made of a very hard stone called diorite represented an intermediary of gods. Gudea carried out great campaigns to build and restore many temples. In this photograph Gudea is wearing a robe that falls over his left shoulder, leaving his right shoulder bare. His hands are together as if praying. Many of the statues recount the divine guidance of Gudea through Cuneiform inscriptions.