When comparing two relatively similar artistic objects from the same culture, there will invariably be similarities and differences between the two pieces. This is the case when analyzing a Dou Vessel from late 5th to early 4th century BCE China as well as a Zun Vessel from 13th century BCE. Both objects have similar purposes as well as certain aspects of design. However, they differ on other points of design and are also dramatically different in size. The parallels and distinctions of the two pieces are reflective of the cultural disparities and different methods of manufacturing during the two eras of creation.
This particular Zun vessel was introduced during the Shang dynasties’ rule over China. Its production took place in close temporal proximity to the start of the Late Shang period as well as the life of Lady Fu Hao, a wife of King Wu Ding. (Thorp, p. 77) This information offers context to its function as well as design. The Zun was a decorative object that also served a functional utility purpose, similar to most art pieces of the time. The Zun’s specific purpose was to store and serve wine. (Thorp, p. 73) This function resembles the primary purpose of the Dou Vessel. The Dou piece was produced during the Eastern Zhou period, specifically in the early warring states period. The Dou was a food server of the ritual variety, with a lid that could be removed. Both piece’s main purpose were to theoretically serve some type of nourishment to the wealthy elite. One can discern that the patrons were wealthy because of the material used to create the pieces of art. Both objects are bronze sculptures, which signified rank and status through the duration of early Chinese history. (Thorp, p. 61) During the Shang period, these scul...
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...was created with an innovative production method for bronze sculptures. (Lee, p. 57) The advancements in technology could explain the massive differences in size, as well as the level of intricacy in regards to the motifs on both sculptures.
By analyzing the differences between the Zun and Dou vessel, one is able to glean insight into the Shang and Zhou cultures. The two dynasties ruled in a similar manner, and were consumed with the idea of prestige and status. They were interested in maintaining communication with ancestors as a sign of respect. This is evident through the utilization and application of the two objects. Both felt that art, specifically bronze, would indicate wealth and power for generations to come. This is why they played such a prominent role in tombs and why they exist today to examine and analyze, providing a glimpse of ancient Chinese culture
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.
Both sculptures represent Mary holding the dead body of Jesus. According to our textbook, “This figure group represented a challenge for sculptors, because the body of the adult Christ had to be positioned across his mother’s lap,” (139). Both of the sculptures were created through carving. This is a “subtractive process in which a block of material is cut away to reveal the desired form,” (Carving).
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.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
The Shang Dynasty invented and, over the years, perfected the technique of casting a bronze vessel from a clay mold assembly, which this wine vessel has also been made from using those techniques (Cantor). This mold was formed around a model of the vessel and was then cut into sections that were carved or impressed in the desired design, in this case the braided or grid design, on the inner or outer surfaces. The decorated clay piece-mold was then fired and reassembled around a clay core. Small bronze spacers were used to hold the piece-mold and the clay core apart. Then, molten bronze was poured into the mold. Using this piece-mold casting technique helped the bronze worker to achieve greater sharpness and definition in any intricate design
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
Chang, Kwang-chih 1968 The Archeology of Ancient China Yale University Press, New Haven & London
Beginning as early as the Shang dynasty, we have found evidence of the Chinese honoring and paying respect to their ancestors. The process of divination used turtle carapace or ox scapula in order to find out if their ancestors wanted certain rituals or sacrifices done. Evidence of honoring the deceased has also been found in tombs during the Shang dynasty. Lady Fu Hao’s tomb is a prime example of this, since hundreds of artifacts were buried with her, obviously denoting respect for the dead or that t...
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.
The Zun vessel, dated approximately 13th to 12th century BCE, is a late Shang bronze vessel used to hold wine. The Gui vessel, dated approximately 10th century BCE, is a Western Zhou bronze vessel used to hold cooked rice. Both vessels are created using the piece-mold casting technique. Due to their distinct functions, the shape of the two vessels are designed very differently according to their use. The
When walking around a city, you may notice that the architecture and art look similar to other works. Many of these designs have changed along the course of history and time whilst others have not. The designs that many people still see in society and day to day living is from two of the many cultures of the old civilizations, Roman and Islamic. The art and architecture forms from the Islamic and Roman cultures have many comparisons and contrasts between them. They, the Islamic and Roman nations, have both adopted from other cultures and have made their own discoveries in the art and architecture worlds. The Roman and Islamic architecture and art vary drastically from each other and yet have varying comparisons between the two.
Japanese art has been practiced since 4,000 BC, otherwise known as the Jomon period. The Jomon is particularly known for creating the first forms of Japanese pottery. Although the Jomon period was thought to produce relatively simple artwork, the people of the Jomon were also the first to show the evolution of Japanese dolls. Essentially, this gradual step towards this treasure form of art was the Dogu, humanoid figures. Jomon period art gradually advanced throughout time with from the first creation of simple pottery, to storage vessels, and lastly to Dogu. Mainly, the technologies used during this time period consisted of clay, while the composition also consisted of simplistic designs such as coiling. This Japanese time period demonstrates the true beginning of the tr...
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground
In an article that takes a look at the modernism of Rodin’s work, it is stated that, “Some saw the Age of Bronze as merely one more academic nude, and his subsequent exploration of the expressivity of the human form has been dismissed as little more than pandering to melodrama and sentiment… literature on the sculptor caricatured nineteenth-century sculpture as a wasteland in which Rodin was the solitary oasis, and he was often held up as the only sculptor of any interest comparable to the rapid advances of modern painting” (Getsy 132). Rodin’s work was not interesting simply because he was the only “interesting” sculptor; Rodin’s work was interesting because he had modernized and turned to a new direction. When Rodin created The Age of Bronze in 1876, many critized him for “cheating” by casting his sculpture from a live model; however, after more research and Rodin himself providing evidence of his model, it was clear that this sculpture was in fact not cast from a live model. In order to achieve this level of modernism Rodin had to cast aside all the traditional styles and ideas that had been used in sculpting. This is shown in the article when the author states that Rodin, “Employed and adapted a sophisticated and subtle formal language of the sculptural body.
The Artifacts that have been found in The Shang Tomb such as the disc, the chariot etc. it represented a strong government. Obviously, if you were buried with the vessels you were very high in power. The Vessels were often given to thank military officials, or people that were high in power and had done something very good for the emperor. These were very rare.