The Statue of Memi and Sabu is a statue depicting a man and a woman. Believed to be a pair of husband and wife, the inscription on the front of the statue identifies the pair as Memi and Sabu. Often placed in the serdab of old kingdom tomb chapels, this statue has a lot in common with Fourth Dynasty statues found around the Great Pyramid of Khufu. The purpose of these statues, as believed by the Egyptians, was that the spirit of the dead could use them as temporary bodies in order to enjoy the offering of food at the tomb chapel. The Seated Statue of Gudea is a statue depicting a man sitting. A ruler before his subjects, he has his hands clasped to depict the traditional pose of greetings and prayer. The statue come from the city state of …show more content…
Lagash, after the fall of the Akkadian empire. While the Akkadian era statues tend to be dynamic naturalist statue, the neo-Sumerian tend to create statues with pervasive sense of pious reserve and serenity. While the two statue both depicts human beings with similar idealized styles instead of naturalist style, the two objects serves different purpose.
The inscription on both statues describes this. While the Statue of Memi and Sabu was purposed to provide a temporary body for the spirit of the dead to occupy and enjoy an offering, the Seated Statue of Gudea depicts Gudea as a sort of a divine being. The inscription on the Seated Statue of Gudea's robe lists the various temples that was built or repaired under his command and claimed the statue to be "Gudea, the man who built the temple; may his life be long." The Statue of Memi and Sabu was intended for the dead, but the Seated Statue of Gudea was for the living Gudea, as the wish to let his life be long depicted. This means that there are different function between the two statue. While The Statue of Memi and Sabu was intended to provide a vessel for the dead, the Seated Statue of Gudea was to venerate Gudea. Both Statue of Memi and Sabu and Seated Statue of Gudea also depicts different number of individuals. The Statue of Memi and Sabu depicts Memi and Sabu standing side by side, while Seated Statue of Gudea depicts Gudea sitting on his own. Each of these two statues also placed in different situations. While Statue of Memi and Sabu was intended for burial purposes, the Seated Statue of Gudea was placed in what thought to be a
temple.
In this paper I am exploring “Portrait of Augustus as general” and “Khafre enthroned”. From exploring and getting to know the Statues in my Art History Book I have compared these statues (Kleiner, 2013). The first and most obvious similarity between the two is in the artists’ idealization and immortalization of their subjects. Both Khafre and Augustus are portrayed in an idealized manner, designed to give the impression of nobility, timelessness, and divinity. The two statues were the political advertisements of their times that showed the public images of reliable leaders who one
The first glance you’ve taken at those two statues, you just see a man standing there. They are not doing anything in particular, just standing there. That was only in the first glance of course. Now take a good look at each one. In the archaic Greek kouros figure, the pose of the figure is very frontal. The entire figure is relatively stiff with the exception of the left leg, which is in front of the body giving it the early contrapposto pose. Even though it does have a much more natural pose to it with the one leg out, the rest of the body is not in a pose as if the weight of the body was put into one leg. The head is stiff with the hair being geometric and with the hair falling back on the body. The physical stature of the body is moderately realistic. The muscles are not quite as well defined but they are still semi-realistic. They are portrayed as if they were tense. The arms are also at the side.
Carved from alabaster the over-life-sized statue shows a idealized depiction of ruler Khafre sitting eloquently in his throne. Riddled with indicative symbols and motifs the written language of the ancient Egyptians allows for historian to interoperate the meanings and purpose of the sculpture, and decipher the statements of divinity and the king power left behind by this ancient people. This funerary statue represents Khafre’s eternity a well as utilizing the expensive material as a testament of his importance and
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
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 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.
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.
Both figures are in a very traditional, standing pose for the time period in which they were created. The sculpture of Augustus is based on the Greek classical statue of the Spear Bearer or Doryphoros by Polykleitos. He is standing in contrapposto, a very classical standing pose wherein the weight of the body is shifted naturally so the figure’s weight is more on one leg, with the other leg slightly bent behind and the hips tilted. Mycerinus and Kha-merer-nebty II are both in the standard Egyptian canon standing pose, in which the figures are rigidly frontal with the pharaoh’s arms down at his sides and fists clenched. Like Augustus, one leg is slightly ahead and one is behind, but there is no contrapposto, the figure’s weight is shared equally by both legs and the hips are squared and level.
Marble Portrait Bust of a Woman with a Scroll in early Byzantine Empire and Figure of a Seated Court Lady in Tang Dynasty of China are two female statues presenting at the Metropolitan Museum of Art. Although they come from different cultures and time periods, use different materials and manufacture techniques, they share some of the similarities. The most obvious, the intentions of their artists seem the same – to reflect the status of women in the society at their time.
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
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
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.
Gudea ruled the city-state of Lagash from 2150-2125 B.C. (Anonymous, 2006). According, once again, to Heilbrunn Timeline of Art History, the Akkadian empire had just recently collapsed and Gudea was one of the rulers to take over during the following 50 years (2006). It makes sense, because of the likely uncertainty in the empire during that time, that Gudea would want images of himself as a serene and reserved ruler spread throughout his lands. This statue is one of the statues commissioned during that time. Gudea is shown as seated peacefully with his hands clasped over his knees. There is fine detail on his headpiece and what appears to be some kind of ancient script inscribed on his clothing. Does the statue actually indicate how Gudea ruled? Not really. It is something he commissioned, which means he paid for it to be made. This gives him a lot of say in how he would be depicted. So, the only thing someone could conclude from the statue is that it looks very well-made and Gudea certainly does look peaceful and kingly in
statue was found in the Hera's Temple. Contained in the Temple of Zeus was one
Scott Mescudi, stage name Kid Cudi, is a rapper that for a majority of his career has touched on topics such as substance addiction, depression, mental illness, as well as the urges and uplifting times of both. Usually his songs follow a saddening and chilling, yet a peaceful tone to help better convey his lyrics. “Ghost!” from his Man on the Moon II album from 2010 also takes on this course of as it tackles Scott’s fight for individualism and following his own destiny. The lyrics and tone depict the ideas and challenges that Scott has for not following the absolute system put into place by social norms.