I have heard stories from my peers about how loud it is in New York City and after seeing how the driving is, there I found a lot of things in common. People were screaming at each other, honking and sometimes sharing some “nice words” to one another. The body language is the same and the level of patience as well; the only difference I found is that drivers slow down when you cross. In my country you have to dodge the cars most of the times when you cross the road. People walk so fast! I tried to keep the rhythm with the lady who is leading me to the museum and after two blocks she was forty steps ahead. I saw many people making a line for a cup of coffee and walking with their cups all over, I saw secretaries and office assistant holding may be six cups of coffee for their work mates that made me to enter Starbucks for coffee. Part of diversity that New York offer is that you can find people from all over the world working in the City, but the hot dog stands are taken by middle Eastern people, I love the …show more content…
diversity and all the cultures you can find. Most of the vendors playing their traditional music and it was a great experience to see how they talk and interprets with each other. I reach metropolitan museums and I was amazed to see how the building was huge, it was a biggest museum I have ever seen, as stood outside enjoying the view, I realized other people were doing the same. There were waterfalls outside the building with people sitting next to it and others sitting on the stairway just relaxing. I walked through the huge lobby entrance, trying to find the ticket station to buy a ticket. As I joined the line, I noticed a lot of people around me from different parts of the world. Some people were looking at arts whiles others taking pictures. Eighteenth-century French Decorative Arts: The Lazun Room. Monumental in size and decorated with exquisite carving, textiles, and trim, state beds were among the costliest pieces of furniture to adorn seventeenth- and eighteenth-century interiors. They were not intended for resting or sleeping, but functioned instead as ostentatious settings where aristocrats could receive guest paying official visits on special occasions such as the birth of a child. Dating to 1782-83, the bed’s original Beauvais tapestry hangings are too fragile to be displayed and have been replaced by modern silk, but the inside of the domed canopy retains its original floral tapestry. According to a 1791 inventory, the bed, which belonged to the duchesse de Praslin, the wife of a statesman of Louis XV, was furnished with three mattresses, giving it a boxlike appearance. The piled up bedding was quite high, making the use of bed steps necessary. The seating furniture placed along the walls was not meant to be used, demonstrating the formal nature of the room, while other pieces were more practical. The bedside table held the chamber pot. The multipurpose table near the barrier is equipped for dressing, breakfasting, and writing and its upper section could be removed to serve as a bed tray. Four Kneeling Statues of Smaller Size.
Dynasty 18, joint reign of Hatshepsut’s temple at Deir el-Bahri, excavated mostly in the so-called “Hatshepsut Hole,” a depression east of the outer wall of the temple of Thutmose III, filled to gain level ground for that temple’s causeway; a few fragments were excavated in the western part of the quarry; MMA excavations, 1922-23,1926-27. At least eight, perhaps up to twelve statues of Hatshepsut of this type are thought to have been placed along the last section of the professional way in the uppermost court of the temple. Hatshepsut is again represented kneeling, in this instance wearing the soft khat headcloth and presenting djed (endurance) symbols and nemset water jars, a combination of gifts that was part of the rituals around the procession of the boat-shaped (“barque”) shrine in which the image of the god Amun was conveyed once a year across the river to rest overnight in the sanctuary of Hatshepsut’s
temple. Homeometric regularity, keen observation, and exact representation of actual life and nature, and strict conformity to a set of rules regarding representation of three dimensional forms dominated the character and style of the art of ancient Egypt. Completeness and exactness were preferred to prettiness and cosmetic representation. Because of the highly religious nature of Ancient Egyptian civilization, many of the great works of Ancient Egypt depict gods, goddesses, and Pharaohs, who were also considered divine. Ancient Egyptian art is characterized by the idea of order. Clear and simple lines combined with simple shapes and flat areas of color helped to create a sense of order and balance in the art of ancient Egypt. Ancient Egyptian artists used vertical and horizontal reference lines in order to maintain the correct proportions in their work. Political and religious, as well as artistic order was also maintained in Egyptian art. In order to clearly define the social hierarchy of a situation, figures were drawn to sizes based not on their distance from the painter's point of view but on relative importance. For instance, the Pharaoh would be drawn as the largest figure in a painting no matter where he was situated, and a greater God would be drawn larger than a lesser god. I really learned a lot from this class, it was not boring to me, I enjoyed each moment, and every time I came to lectures I wished it would never end. It helped me, know me how to choose my colors and how to mix up the colors. Also I learned how to write my name in a cartouche. I also learned a lot from my art teacher Professor Spellman, he likes to say “F” so it becomes like every time he say something the students will say “F” and how he says it. It’s funny! I don’t dislike anything, nothing to really crisis. In fact, he is my favorite teacher. Thanks for being my teacher; I have learned a lot from your class. I wish you were my teacher for all my classes!
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.
Hatshepsut, declared herself king during the reign of her stepson and nephew, Thutmose III. She adopted the full titulary of a pharaoh, and since this was traditionally a man’s role, she wore the nemes-headcloth, the shendyt-kilt and a fake beard as part of the ceremonial attire of the Egyptian king. This is portrayed in her life-size statue “White Hatshepsut” at the MET.
This Large Kneeling Statue of Hatshepsut (ca. 1473-1458 BCE), shows the pharaoh Hatshepsut kneeling and providing an offering either for balance or order. For a few reasons those first viewing this statue will assume that it’s just another depiction of a male pharaoh. Firstly, women as rulers were extremely uncommon in Egypt. Visually, the statue almost appears to be male. The body composition is rather bulky for a woman and is fitted with a facial beard. The clothing is that of a male ruler and the facial expression is serious and confident. The statue itself is giving no emotion, she looks serious as though she is not trying to give an expression, but could intel that she is a rightful ruler as any male pharaoh before her.
The success of the king’s rule became based on the approval or rejection of the god Amun-Re. Thus, Amun was used as a platform for political propaganda, with pharaohs such as Hatshepsut and Thutmose III using the God to legitimise their claims to the throne, as evidenced for Thutmose III on the Temple of Tiraqa: ‘I have achieved this according to that which was ordained for me by my father, Amun-Re’. Concepts of the divine oracles and the divine birth of the king became a theme for pharaohs of the 19th dynasty, and afforded them heightened legitimacy. Hatshepsut’s divine birth scenes on her mortuary temple in Deir el Bahri depicts her claim to be the daughter of Amun, manipulating the public to believe in her divine birth. Additionally, Thutmose IV’s ‘dream stela” erected between the paws of the sphinx, which claimed that he had been granted the kingship because he had freed the monument according to instruction from gods. Some historians have dismissed these building projects, which consolidated the importance and authority of the state cult of Amun-Re as mere political propaganda. However, it is more the point that they reflect a significant change in the Egyptian political landscape, as it became dependent on and connected to the sustained pre-eminence of the cult of Amun-Re and the religious unity that eventuated. Therefore, the amun
The sites touched by Thutmose I and II were expanded in Upper Egypt. Hatshepsut built for Horus of Buhen, which was a temple of a temple common in the mid 18th dynasty. Hatshepsut lined the temple with drawings of her and Thutmose III. Although later, when Thutmose III rose to power, he replaced those drawings with those of just him and his father and grandfather. However, parts of the Buhen temples that were moved to the Khartoum Museum, contains scenes of Hatshepsut’s coronation and veneration of her father, Thutmose I. There are no records of any 18th dynasty kings building before Hatshepsut. Hatshepsut also inscribed a lengthy tale on Speos Artemidos, saying that she was the first person to start to restore temples in the area of Memphis since the Hyksos destroyed the area. She claimed to rebuild temples at Hermopolis and at Cusae. This work was claimed to be overlooked by one of her nomarch named, Djehuty. Djehuty was a general under king Thutmose III, and then a nomarch to Hatshepsut. Djehuty had the titles “king's scribe”, “overseer of troops” and “overseer of the northern countries”. Hatshepsut gave the most attention to Thebes. She had a huge focus on the Temple of Karnak, and worked on restoring and expanding on the once great temple. Djehuty had a large role in this project as well. Illustrated on the walls of this temple, was the Queen’s expedition to
Robins, Gay. "The Names of Hatshepsut as King." Journal of Egyptian Archaeology 85 (1999): 103-12. Jstore. Web. 8 Dec. 2013. .
Thus, despite her being a female, she had the makings to become a queen. For the queen there were not many women who became Kings who ruled under a city and would become king. When she ascended the throne she changed her name from the feminine Hatshepsut to the male Hatshepsut. She surrounded herself with strong and loyal advisors, many of whom are still known today: Hapuseneb, the High Priest of Amun, and her closest advisor, the royal steward Senemut, some speculate he was Hatshepsut’s lover during her rule. During her rule, Egyptians were the most powerful, advanced civilization in the world. She reestablished the trade networks that had been disrupted during the Hyksos ' occupation of Egypt, bring wealth for the 18th dynasty. She oversaw the preparations and funding for a mission to the Land of Punt, a region of East Africa that was rich in gold, resins, ebony, blackwood, ivory and wild animals, including monkeys and baboons. The mission also went in search of slaves. Hatshepsut probably died around 1458 B.C., when she would have been in her mid-40s. She was buried in the Valley of the Kings, located in the hills behind Deir el-Bahri. In another effort to legitimize her reign, she had her father’s sarcophagus reburied in her tomb so they could lie
New Yorkers are stereotypically known as a crass and rude group, devoid of compassion. Having visited other places in the world I can frankly attest that I have never experienced apathy so widely spread throughout a populace as I have felt living in New York. The "New York attitude" isn't unique to lower class individuals who are down on their luck; it transcends class, gender, and race. It's evident in the Wall Street white collar, the ghetto rogue, the chubby mothers of three-and me. It's a compelling force. I've been trained, conditioned like one of Dr. Pavlov's dogs, to behave this way; to bark on demand, to push as I'm being shoved, to hate when hated.
Roehrig, Catharine H. Hatshepsut: From Queen to Pharaoh. New York: The metropolitan Museum of Art, 2006. 1-296. Print.
“His majesty, herself”: ruler of consequence and inconsequence. She was one of the most controversial rulers of ancient Egyptian history. The discovery in 2007 of her remains and tomb creating more questions than answers. From her glorious reign of Egyptian prosperity and consequence, to her mysterious death and attempts to erode her from history and make her legacy inconsequential, Hatshepsut rose above and now is considered to be “most important find in the Valley of the Kings since the discovery of King Tutankhamen.
perception of New York City given by these two passages is a contradictory one. In both
The expansion of the political and economical power during the New kingdom, led to the devotion of resources to the religious architecture; numerous new temples were constructed while the pre-existing temples were renovated. Individual Pharaohs endeavored to out do their ancestors, not only in the construction of their own mortuary temples, but also in the establishment of worship temples of their deities. Kings of this period abandoned the pyramid complexity of the earlier ages and constructed their tombs in the Valley of the Kings well away from their mortuary temples due to the increase of robbers; therefore a standardized plan became default for both the worship and mortuary temples. Because of this movement, I believe that the divine and mortuary spheres became entwined in both theory and practice. During the 18th dynasty, temple construction reached its highest point under Amenhotep III and Tuthmosis II; it was the art of the Middle kingdom that they wished to imitate. Hatshepsut temple at Deir el Bahari compared to its neighboring temple of Mentuhotep III, are great examples of the return to ancient architectural resources. ( image 4&5) show the direct inspiration based on the replica of the previous kingdom’s architecture. Some of the imitated elements were the long porticoes with squared pillars rising in terraces, wide ascending ramps, the entrances colonnaded with the sanctuary, the great use of papyrus columns and above all the strict harmony of the building with its setting. Although there was a conscious desire to return to the disciplines of the former period, yet development also took place. The attempt to achieve greater effect of lightness became dominant as well as the extra care given to the decoration and t...
New York City has always been an example of how diversity can exist in a successful and peaceful place. Full of action, enthusiasm, and a combination of many cultures, New York is rich in every sense of the word. For example, taking a walk down the busy streets not only opens your eyes to the small but meaningful details of the city and the different people that revive it but also the numerous worlds that are somehow fused in this magical city, like Little Italy, Chinatown, Little Syria, Korea Town, and many others.
To conclude, New York City is one of the most densely inhabited metropolitan collection of cultural diversity in the world in which structures our temperament. New York City applies an imperative influence upon trade, economics, mass communication, skill, style, and education. Frequently it is known that New York City is a crucial core for global politics and has been depicted as the ethnic headquarters of the globe. New York City has been known as a melting pot of culture and as this prolong throughout towards the current day, the city has become ornate with distinct cultures. You can easily experience many aspects of different cultures by going to the different ethnic neighborhoods that exist throughout the city.
The essay; ”Living with strangers,” written by Siri Hustvedt deals with the attitude of urban living in New York City. There are many different rules of living between the country side and the city and there exist many unspoken rules in all cultures and societies. Siri Hustvedt tells us that she grew up in the country side rural Minnesota were it was a custom to greet everyone you met or else you could be accused of the worst possible sin, snobbery. Then she moved to New York City in 1978. Here she discovered how unpractical it would be to greet every person she met. Siri quickly learnt the simple survival law of the New Yorkers: Pretend it isn’t happening. The title “Living with strangers” refers to the paradox that we are becoming more isolated while being surrounded by increasingly more people.