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Recommended: Comparison essays
This first week’s assignment tasks us to draw some comparisons between two statues from the third century. While created in different periods, it appears upon first glance there may be some similarities.
The two statues for this week’s assignment are The Royal Acquaintances of Memi and Sabu, and the Statue of Gudea. Looking at the Memi and Sabu statue we can immediately discern a few things. First being carved out of stone does provide more depth and connection with the subject than perhaps a flat two dimensional canvas. More detail is seen by a statue in a three dimensional posture. The same is true with the statue of Gudea. Both stone carvings allow the sculptor to emote various characteristics about the subjects and period. Using this
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The Gudea statue shows us the subject in a seated position. This indicates royalty, strength, leadership and shows him as a ruler. He also has his hands folded which is a traditional gesture of greeting and prayer. This is a man of greatness. Even the inscription on his robe connotes power, “Gudea, the man who built this temple; may his life be long”. I would characterize this as a monument to Gudea for a historical remembrance of great achievements. Viewing the Memi and Sabu, leaves me with a different perspective. I see this more as an intimate look at these two Egyptians. While typically carvings of men from this era were in a striding position which evoked strength, here Memi is draping his arm across her shoulders reciprocating Sabu’s embrace. According to www.metmuseum.org, pair statues like this were commonly placed in a serdab, which is a hidden chamber. The Egyptians believed the deceased spirit could use this statue as a home and allow them to benefit from the gifts of food brought as offerings.
While Gudea appeared to commission this statue as a monument, the Memi and Sabu statue seems more likely to be a preparation for a loving couple’s journey in the afterlife together. Therefore the functions of these statues would appear very different in expectation and
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.
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
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
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.
The posture of the figures is one typically associated with pharaohs and gods where the feet are flat on the ground, legs perfectly bend and lined with the shoulders as well as the arms laying at the side with fists clenched. This posture is used to dissociate the subject from humans and create the illusion of a supernatural being. The facial features of the couple are also sculpted to perfection. The features are symmetrical and make it difficult to distinguish what the couple truly looked like. The statue depicts the two in this way to create this idea that they are of high status much like Ti in the Hippopotamus Hunt relief. In that relief from the Old Kingdom, Ti, who was only an official, portrayed himself in the perfect rigid form of a
I am going to compare two iconic statues from two distinct religions, Buddhism and Daoism. The Buddhist statue I have chosen to examine is the Giant Buddha at Leshan from the Tang Dynasty in China and the Daoist statue being the Laozi Statue from the Song Period in China. Both statues are in China and are large icons, yet intricate differences lie within the details of each statue that reveal major advances and philosophies from their times. Both religious statues have a being associated behind them; Siddharth Gautama being the Buddha from Buddhism and Laozi being the founder of Daoism.
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 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.
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
The use of art forms and sculpture as a means of conveying a message to its viewers has been rooted deep into culture throughout human history. Imagery has carved political views and depictions of society’s circumstances into permanent marks of antiquity. From the Ancient Roman architecture and sculpture to the 1900’s emergence of media in politics, we have continued to express our views, hardships, and culture in permanent ways, and use art as an intricate form of manipulation and persuasion. In the ancient times, the Romans used sculpture to portray individuals of power, such as Augustus, to mark a political ideology by making powerful figures look more pristine and perfect on a godly level. They would portray the unattainable perfection
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.
When carving statues, artists drew guidelines on all sides of the uncarved stone, paying close attention to the horizontal and vertical axes (Watts & Girsh 38). Instead of carving statues fully in the round, many artists opted to leave the main figure(s) connected to its base to support its own weight. Shown here (Fig. 4), is an example of the tradition style of figure statuary; the Pharaoh and his wife are stiff and rigid, showing to their people that their legacy will live on, unmoving, throughout the ages. Under the reign of Akhenaten, many of these traditional ________________________ Egyptian artistic values were cast away in favor of those that portrayed the royal family in a jarring, grotesque way.
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.
This may count as two different objects but this is technically one art piece conveying two different emotions. The statues were created by Michelangelo and were intended to be put into the tomb of Pope Julius II. Both of these statues are unfinished and were donated to the Florentine exile Roberto Strozzi, who then presented these statues to the King of France. These statues were started in 1513 by Michelangelo, but this project was cut short for financial reasons. These statues were to be a part of a 4-part ‘prisoners’ art piece that was unfinished but meant to remain and be only seen within the tomb of Pope Julius II . The statues are approximately 2.09 meters in height, or 6.8 feet if you’re one of the few countries still holding on dearly to the imperial system. These statues were once attached but are now, like many relationships that begin freshman year, no longer clinging together at the hip.