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Ancient + Mesopotamia + essay
Mesopotamia questions and answers
Mesopotamia questions and answers
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Recommended: Ancient + Mesopotamia + essay
This piece from the Ancient Near East caught my eye mainly because of the title. We’ve looked at the figure Gudea in course material before so I was very interested to find a statue of Gudea’s son, Ur-Ningirsu. Ur-Ningirsu is depicted in a strikingly similar way to his father in that his features show a humble, pious, and competent individual. He is shown with the same style wool cap as his father showing his humility and clasped hands showing his control. Piety is a common theme in Sumerian art during this time period since leaders weren’t shown as divine but rather stewards of the gods. The dramatically long profile of Queen Nefertiti in this piece drew my attention immediately. I found her highly stylized facial structure very intriguing.
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
The Victory Stele of Naram-Sin is a vertical stone marker, referred to as a stele, that depicts the military triumph of Naram-Sin and his army over the Lullubi people from the city-state of Sumer in eastern Mesopotamia. This stele, an artifact I find most intriguing due to its dynamic symbolism and compelling story-telling, elaborately details not only one of Naram-Sin 's greatest military victories but displays, what I believe to be, Naram-Sin as a divine-like being, suggesting a change in the religious ideas of the Ancient Near East era. As the text in Art and Culture: An Introduction to the Humanities explains, rulers of this time period we not viewed as gods, but as an “intermediary between the god and the people,” yet this artifact gives the impression of quite the opposite. The symbolism suggesting the alteration in religious ideas is profoundly depicted throughout every detail of this artifact, not only through its focal point, Naram-Sin, but among the minute details of the accompanying figures and the overall composition of this artwork.
Her work resembles fossils and botanical illustration pages at the same time. Her simplicity and willingness to give back to her community is also an attribute I admire of her. Her work is important because of it has been used a medium to convey precious memories through the preservation of flowers. This artist inspires me because of her mastery of such a simple technique to create beautifully simplistic, yet intricately detailed works. This is an aesthetic I hope to achieve in my personal work because of my love of detail and organic shapes, such as flowers. It is amazing how she has achieved such wonderfully detailed and organic shapes using a medium that I never thought to be used in such an organic
To begin with, the focal point of this piece is a woman 's face with a map of the world on it. I attempted to draw the face with a likeliness to Amniata in mind, by incorporating the moon marks that are adorned on her face. As well as her facial expression is rather difficult to read. From the beginning of novel, Amniata says; "My eyes are hard to read, and I like them so"(8). She takes it great care in concealing her emotions.
A piece of art can leave distinct impressions with the viewer. The Assyrian Winged Protective Deity provides a plethora of stimulants for the eye. The relief emulates brute strength and power through the overall stature of the figure. The cuneiform writing above the relief greatly influenced the impression a viewer can receive through its narration about the figure. Other than Gilgamesh and the Assyrian Winged Protective Deity both being from Mesopotamia, they have numerous similarities.
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.
...ructure balance of the sculpture. How he did it all from memory and made it look fantastic. The blackberry woman may not be one of my favorites, but I love the controversy it brings. How our world can be so cruel just because the color of one’s skin, will still forever intrigue and irritate me.
I chose this sculpture because I was intrigued by the position of the man and the centaur. I was able to witness that the centaur is trying to invade the personal space of the man. The sculpture showed me that there is a strong relationship between man and creature. The quality of the sculpture made me realize that animals play a big part of a human’s life and can be seen as threatening to humans. It was interesting to see that both the man and centaur were created to have almost of the same structures. This statue has a metallic brown and green, bronze tone and appeared undersized. It has a height of four and a half feet, and six inches. It has long, thin, legs with calf muscles, and bulging thighs. The sculpture evolved from Olympia, Greece. The man and centaur sculpture was created in 750 BCE during an orderly time period. The colors used for this sculpture, proved that it has a longer lasting mold for statues. On the left side of the sculpture, the man has a wrap on his head, that can symbolize, he is some form of a god. On the right side, the centaur has the same head piece as the man, but the body of a horse. It can be seen that the man and
As I studied the portrait, I realized it was a woman because in the sixteenth century there were no plastic surgeons providing men with breast implants. The ugly woman in the portrait appears deformed; her ears are large; her skull is unusually shaped; her hair line is missing; she has no eyebrows; her neck weighs heavy (double chin) like she had been pregnant before; her nose and mouth are far apart. She is wearing a vail or she is a religious catholic woman. My perception of the portrait has changed a notch, in fact, when you analyze her eyes she seems like a compassionate person. Perhaps in the sixteenth century in Massy’s culture “A Grotesques Old Woman” is considered beautiful because she is different than other woman portrayed in other
Connecting back to the idea of Rima and Nitya being considered a minority, each of them have experienced being considered a minority at some point in their life. A minority is defined as “a group in society distinguished from, and less dominant than, the larger and more numerous majority” according to the dictionary and a minority group is defined by Martin M. Merger (Race & Ethnic Relations, Martin N. Marger, 1991) states that “being apart of a group that, on the basis of their physical and or cultural traits.” Growing up in Pakistan, Rima was not a minority and was inevitably a part of the dominant group in Pakistan due to her heritage and ethnicity. Living in London now, Rima is not treated or considered to be a part of the dominant race
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.
This sculpture seems to epitomize the ideal male human form. All of the body parts seem perfectly proportioned and the muscles are beautifully defined as if the image were of an athlete. The image is youthful with a calm demeanor. The right missing forearm looks as if it used to be resting at his side, while the left elbow was probably at a 90 degree angle, with the hand holding something. The slight bend in the left leg gives the impression of movement, as if the image was frozen while walking. The counterpoised stance adds an air of nobility to the "man".
Gudea was a prince who built many temples in his kingdom of Lagash. Benoit Nicolas of the Louve Museum describes Gudea with a royal turban and robe, seated with folded hands in a tradition of greeting and prayer. The seated statue of Gudea, commissioned by Gudea is a self-portrait, carved in diorite considered a durable stone. (Nicolas, n.d.). The statue is inscribed with a list of the many temples Gudea built and includes a blessing “Gudea, the man who built the temple; may his life be long.” (“The Metropolitan Museum of Art,” n.d.) The Sumerian inscription on Gudea’s robe provides space to record the temples Gudea built as well as permanently record his devotion. The inscription on the hard stone tells us Gudea was devoted to his religion, and wanted an everlasting public record of his work long after his death, displayed in temples while he
This artwork remains relevant today with the depiction of a Roman love story and the architecture. The structural work that went into this sculpture is inspiring because I feel that even with modern technology, knowledge can be gained from how this piece was constructed and designed. The story this artwork tells, of Cupid rescuing Psyche, despite insatiable curiosity, can also be inspiring.
Manhattan's Brecht Forum hosted three remarkable women, who reported on the conflicts and popular uprisings transforming the Middle East. First to speak was Dr. Nawal el-Saadawi, author of many books that explore Arab women's sexuality and legal status, including The Hidden Face of Eve, Daughter of Isis, and Woman at Point Zero. Her activism has led to threats on her life, loss of her position as Egypt's director of public health, imprisonment in 1981 and exile to the U.S. in 1988. “I have survived the events of my life because of the pleasures of writing. The revolution gives me the same pleasure." Saadawi enthusiastically threw her support behind those defending workers' rights in Madison, Wisconsin, but she encouraged Americans to demand even more change--Egyptian-style.