1. Compare and contrast the imagery of the Egyptian Palette of Narmer with the Akkadian Stele of Naram-Sin. How do they represent their respective kings, as rulers and also as human figures? How are the other figures represented? How do the artists approach the narrative (storytelling) process? The Egyptian Palette of Narmer includes four different sections, it also includes many different figures, some human like and others are different combinations of various animals. As stated in the Ancient and Medieval History online article, the purpose of this palette was thought to be used as a table to pulverize cosmetics (Davis, Hunt). King Narmer is seen as a powerful figure on the Palette. The artist made King Narmer look powerful by including …show more content…
The Egyptians often included lions to symbolize strength, leadership, loyalty, and war. The top of the palette also includes a human face with bull horns. This was done in attempt to represent the gods the ancient Egyptians believed in. These gods are associated with power, masculinity, and fertility. The story behind the palette is thought to be related to the unification of Egypt. The king is also seen performing a ritual done in which they remove heads of enemies and stand over them (Kleiner 58). The Victory stele of Naram-Sin holds similar features, however there are some distinct characteristics that set the two apart. The stele is obviously a different material than the Egyptian palette of King Narmer. The palette was made of soft siltstone while the stele was made of pink limestone. They both have similar shapes; however, the palette is much more polished than the stele. Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
This mask belongs to the minor character Mercutio; consequently, its main colors are orange, brown, and green because he is flamboyant, reliable, and young. To begin with, the color orange represents Mercutio’s most recognizable and dominant trait: flamboyance. It is exhibited most in his Queen Mab monologue, “Oh, then I see Queen Mab hath been with you./She is the fairies’ midwife, and she comes/In shape no bigger than an agate stone/On the forefinger of an alderman/Drawn with a team of little atomies...And in this state she gallops night by night/Through lovers’ brains, and then they dream of love...This is the hag, when maids lie on their backs,/That presses them and learns then first to bear,/Making them women of good carriage,”(Act I, Scene 4, lines 53-57, 70-71, 92-94).
Looking at this Palette, it isn’t hard to see how the old Egyptian subjects were so entranced by their leaders and how that compares to our modern viewpoints. Where we view politicians and leaders as a wiry group, always keeping an eye on them lest today be the day they raise their daggers against us, the ancient Egyptians saw their leaders as infallible, godlike beings to be trusted, obeyed, and adored. Standing just over 2 feet tall and 1.4 feet wide, this Palette was carved out of a majestic shade of grey-green siltstone, almost shield-like in appearance. Both sides are exquisitely carved out, each one uniquely decorated but both sides containing a central serekh used to identify and in this case even confirm the subject as royalty. This serekh contains the symbols n’r and mr, which as you may have noticed, phonetically spell Narmer. These symbols are surrounded by two bovine heads, which could either represent the Goddess Hathor or Bat. The front s...
We find that, in conclusion, that these pieces are very similar in many ways. They are both originally created in the same style and time period. They are Hellenistic and dramatic, although in their own, individualistic way. Each sculpture was created in different mediums and have different stories. These are both very individualistic pieces of Greco/Roman sculpture that has influenced many artists throughout time and will
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
I have very good sight. One moment they were white, the next red, the next blue. Then I got it. They were a woman’s dresses”. At first, I did not pay attention to the colors of the dresses, but then I realized the pattern of colors in order. In this case, I believe white represents light, goodness, and pureness. The red represents anger, blood and possibly murder. The last but not least, the color blue that represents wisdom, loyalty, and truth. It seemed to me that the author used colors symbolizes the story from the beginning to the end. I believe it is a hint for us to what to expect and what not to since Jeffries was right all along the
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.
These two statues are famous to the Egyptian art era. They represent the woman’s position and the man’s position at that day and age. Traditionally, the rulers of Egypt were male. So, when Hatshepsut, Dynasty 18, ca. 1473-1458 B.C., assumed the titles and functions of king she was portrayed in royal male costumes. Such representations were more for a political statement, rather than a reflection of the way she actually looked. In this sculpture, she sits upon a throne and wears the royal kilt and the striped nemes (NEM-iss) headdress with the uraeus (cobra) and is bare chested like a man. However, she does not wear the royal beard, and the proportions of her body are delicate and feminine.
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)
Narmer’s Palette is an interesting piece I found it visually appealing at first but as I learned more about it I truly became entranced by it’s story. Visually Narmer’s Palette contains many elements of Egyptian art including hierarchical scale, stylization and repeated poses. Hierarchical
The Palette of Narmer was created on a flat stone surface; the artists then carved the story into the flat stone in a very specific manor. This palette is known for representing the coming together of Upper Egypt and Lower Egypt (Stokstad and Cothren, 52). At the top of the palette on both sides shows two bulls that were said to possibly represent the goddess Hathor. Hathor was known as the goddess of protection, and is depicted in other Egyptian art as a woman with cow ears (British Museum, no page). In between the heads of Hathor is the name of the King Narmer, written with iconography called serekh. In this serekh, one can see the Horus falcon head and below it is the name of the king. The falcon head is said to protect the Egyptian ruler (Kinnaer). Although this is just one small piece of the top of the palette, it already starts to depict an enormous part of history in Egypt.
The figures, both seated and standing are depicted according to traditional Egyptian conventions. Nebamun is painted as the largest figure in the painting because he is the most significant . He is standing in perfect balance with a youthful, well proportioned and defined body. The artist has painted Nebamun in a way that emphasises what the Egyptians believed to be the most important parts of a man’s body. Teeter expands upon this.
The works titled; Victory Stele of Naram-Sin, Akkadian, 2250 BC and Stele of Hammurabi, babylonia, 1780 BC are both steles, which are large carved slabs of stone used to commemorate historical events or in same cases mark graves depending on the culture. Both works have many stylistic characteristics which were typical of mesopotamian art. They both utilized techniques such as the combined pose as well as hierarchy of scale. They both also rebuke certain classic mesopotamian stylistic choices. The Victory stele of Naram-Sin, for example, has one of the first landscapes in the history of art, and both share a lack of registers. Registers are a storytelling format using lines to separate different parts of a relief, painting etc.
Van Gogh had sympathy for the peasants and furthered his passion for humanity. He studied them non-stop to explore their world. The color palette he chose was dark and crudely painted on, almost grungy. It’s a low-lit kitchen area, with the look and feel of exhaustion that the dark color palette engages the viewer to feel what is going on.
The overall point of this investigation is to determine the influence of feminine stature in the Egyptian culture. I explored in deeper into this topic because the Egyptian culture had a lot of facets in their own culture that had disappeared for some time, only to be assimilated into modern day culture. Their culture was before their time. The period of the Egyptians was from 3500 - 525 B.C., where in 525 B.C. the Persians conquered the Egyptians (more on that later). The method that I am using that determine the feminine importance is through various articles that are displaying the role of the women in the daily society, articles about the role of goddesses in the Egyptian people’s lives, and the crusade that the Egyptian people lost
The civilization of Ancient Egypt was one of the earliest in world history. Its timeline spans from 3000B.C to 31 B.C before it was annexed by the Roman Empire. During that period a lot of art was made that still remains to this day. Mostly statues and reliefs where made for religious purposes either for divine or deceased recipients and so not made to be seen. Ancient Egyptian art is five thousand years old. It emerged and took shape in the ancient Egypt, the civilization of the Nile Valley. It was highly symbolic and fascinating - this art form revolves round the past and was intended to keep history alive. Through these depictions historians have seen how the civilization changed and evolved; which has made it one of the most