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Neolithic architecture
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Essay on statue of gudea
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Throughout time there are multiple representations of art through paintings, drawings, and sculptures. Two statues would be the Statue of Gudea and The Royal Acquaintances Memi and Sabu, which are remanences of the past. The Statue of Gudea is dated from the Neo-Sumerian around the year 2090 B.C. originated in Mesopotamia. This statue is a representation of Sumerian kings as well as hymns and prayers while under the rule of Gudeu and his successors including his son. This particular statue belongs to a series of pieces that were commissioned by Gudea who installed the statues of into temples that were rebuilt during his reign. This statue demonstrates typical prayer gestures; being seated with his hands folded. The inscription on the robe lists temples that were built or rebuilt as well as the names of the statue, "Gudea, the man who built the temple; may his life be long." He was seen as a ruler that placed prayer and beliefs above all else, his temples were grand and most of his reign was dedicated to rebuilding temples that had to be destroyed through various means. The Royal Acquaintances Memi and Sabu were product of the 4th Dynasty between 2575 and 2465 B.C. and They are also different dimensions that may or may not be directly related to the importance to the person the sculpture is depicting. The Statue of Gudea only depicts a person of royalty whereas the Royal Acquaintance of Memi and Sadu depict two people most likely a husband and wife though it is never stated that they are indeed a couple. Finally, The styles of the two statues are very different. The Gudea statue is focused more on the scripture and signs of adoration such as the fringed cloth draped on his shoulders. The Acquaintance statue of Memi and Sadu uses curves and detail to depict the pair and uses a backdrop of stone in order to support the figures standing
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.
The emotion in the figures is also very different. In the archaic figure, the face contains emotion other than the archaic smile. The eyes are closed with no facial expression. The classical statue on the other hand does not have any facial expressions but has open eyes and no smile.
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 process by which this particular statue was created involved using a method developed by Kaikei, a Japanese sculptor. It was a groundbreaking process that involved carving different pieces of wood separately and then joining them together (“Amida”). Instead of using a single object for creating a sculpture, multiple parts could be used to make the statue easier to construct and put together. After the parts were all joined together, the statue was covered in a lacquer finish and gilt was added to the face to give it the golden look.
The Egyptians created Ramesses’ statue 1279-1212 B.C. using granodiorite. The statue is currently being exhibited at the Museum of Fine Arts Houston. Its dimensions withouts a base are 59 3/4 x 23 1/2 x 30 inches (seems bigger than life-size). One must look at the statue from various sides in order to see its entirety. Ramesses II, known also as Ramesses the Great, ruled Egypt for over sixty years. there are thousands of statues made in his honor to proclaim his power and divinity.
Discovery of Statues in Lagash Lagash was one of the oldest cities in Sumer and Babylonia. Today it is represented by a long line of ruin mounds, which are rather low, now known as Tello al-Hiba in Iraq. Located northwest of the junction of the Euphrates and Tigris rivers, and east of the ancient city of Uruk, it is positioned on the dry bed of an ancient canal, approximately 10 miles north of the modern town of Shatra. # The ruins of Lagash were discovered in 1877 by Ernest de Sarzec, a Frenchman, who was allowed by the Montefich chief, Nasir Pasha, to excavate the site at his pleasure in the territories under the governing of Nasir Pasha.
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 regards to subject matter, both pieces of sculpture are of leaders, Mycerinus and Kha-merer-nebty II were the pharaoh and queen of Egypt around 2500 BCE., and Caesar Augustus was the Emperor of Rome from September 23, 63 BCE to August 19, 14 CE., shown in this work as a general from Primaport, Italy.
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)
The votive statues were created by worshipers of the ancient Mesopotamian gods. They were crafted out of materials such as limestone, alabaster, gypsum, and other such materials (Votive Statues). These statues were created around 2900 to 2350 BCE at the Square Temple at Eshnunna. The creators of these statues created them in their own likeness to be held at the Square Temple, a place of worship to their gods. It was the worshipers belief that the gods would bless these statues and in turn, bless the creators (Department of Ancient Near Eastern Art, 2004). Worship of the gods was a huge part of the culture of Ancient Mesopotamia, as such these votive statues played a major role in that culture.
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.
Zeus’ head was decorated with an olive wreath that symbolized peace. In his right hand he held Nike, symbolizing the importance of winning. In his left hand, a golden scepter representing royalty, topped with a golden eagle. His feet rested on a golden footstool that reached the eye level of his worshippers. A layer of gold flowed across his ivory shoulders. His face was calm, commanding, and bearded that represented the face of the powerful god. The temple represented Greek architecture 's fascination with proportion. Large bronze doors housed the wonders held within the temple. One of the most extraordinary things about the statue was Zeus ' expression. His eyes were so detailed that it was said that they could pierce your soul. Zeus ' throne was carved showing images from mythology of gods, demigods and other
statue was found in the Hera's Temple. Contained in the Temple of Zeus was one
It is speculated that this anti-iconic symbolism was done in order to comply with Gautama’s wish that his physical form not be depicted after his passing, but there are no found scriptures known to prove this statement. On the east gate is a continuous narrative scene called “The Great Departure,” where Gautama departs on his journey for enlightenment (Chien). He is represented as an umbrella, a royal symbol, when seated on his horse and as footprints, which shows his physical impact on the world, when he dis-mounts his horse. The Buddha is represented as an umbrella on a shrine on the Western gate. Buddha sculptures have evolved over time in order to fit the changing views of Buddhism. The earliest styles for Buddhist sculpture are from the ancient civilizations of Mathura and Gandhara started the iconic phase of depicting Buddha. A seated Buddha statue from Mathura resembles traditional Indian images of male nature deities, has fearless hand gestures, and is characterized by a cranial protuberance, which shows his greater understanding of all things. These seated statues constitute of broad shoulders, a swelled chest, firmly planted legs, a shaven head, a smiling round face, and drapery that clings to the form of the body while leaving the right shoulder bare (Britannica). Other characteristics include “the right arm raised in
I hope through this article the reader has gained a better understanding how the human race has used sculpting and statues to share the values, experiences and emotions from our rich history. From the shores of liberty, to the museums of strength, to the cities of courage and the beach towns of peace the reader can find a rich history of human values. Everyone should be encouraged to conduct their own research into other statues created and review the values that they are built to reflect and share.