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Information about the mask of agamemnon
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The mask thought to be the Golden Mask of Agamemnon, king of Mycenae Greece, Agamemnon Funerary mask, from Grave Circle A, Mycenae, Greece, ca. 1600–1500 BCE. Beaten gold, 1 high. Mycenaean was found in 1876 and resides at the National Archaeological Museum in Athens, Greece. There are many Ngady a Mwaash masks from the Kuba people, the specific pieces Ngady a Mwaash, Southern Savanna, Democratic of the Congo, ca. 19th century. Wood, pigment, cloth, beads, cowry shells. resides in the Dayton At Institute in Dayton, Ohio. The Funerary mask differs strongly from the Ngady a Mwaash in appearance, apart from the fact that both pieces were clearly made to fit the human face, their composition of materials vary from each other. The Golden Mask was …show more content…
Ngady a Mwaash is the female of a trio of masks, and it depicts the sister and consort of the primordial ancestor. The other masks of this trio are called Mwaash a Mbwooy, also known as Woot who represents the king, and the mask Bwoon who represents the king’s younger brother. Sometimes the Bwoon and Mwaash a Mbwooy will compete for the favor of Ngady a Mwaash. The Ngady a Mwaash represents female but is worn by a man in ceremonies for funerals, initiation and retelling the origin story of the Kuba people. Aspects of the Ngady a Mwaash mask have significance. Beads that run over the nose to the mouth represent the silence of women, while the lines slanting under the eyes depict tears, representing the hardships women face. The colors of the lines are also important to note as white lines symbolize mourning and the red lines symbolize suffering. Painted triangles on the upper face of the mask represent hearthstones to indicate the domestic life of …show more content…
The mask was found fastened to the face of a deceased man in Grave Circle A in Mycenae, Greece. While this man was not Agamemnon as archaeologist Heinrich Schliemann had stated, the mask undoubtedly belonged to a man from an important and powerful family, just as other deceased found in Circle A were likely from. Along with these golden masks was an abundance of gold items such as bracelets, cups, crowns, necklaces, swords and daggers. Dating from 1600-1500 BC, the mask comes from the time where Mycenae was one of the three primary culture in Ancient Aegean culture. The lack of artifacts with written language brings greater importance to these artifacts found in and around the citadel of Mycenae, as they are the only evidence to profile what the lives of these people were like. Mycenae’s fortified city and amplitude of swords and daggers could indicate a civilization that was offensive or
The arrival of distinctive early cities is mostly about striking and their endurance was over the limit thei...
The mask is part of the ceremony known as "the Dance of the Goats” or La Danza de los Chivos. The mask on masksoftheworld.com is from Chilpancingo, State of Guerrero, Mexico. However, the traditional Dance of the Goats began in Zitlala, State of Guerrero, Mexico. The villagers created the dance after the Mexican Revolution in 1910. After the war, an epidemic took place that eliminated almost all livestock in the area. Even with the epidemic, the people were able to complete the construction of their primary church, but afterwards were left with nothing. They decided to approach the patron saint of the village, St. Nicholas to express their concerns and worries. Once they were before him, they dressed and danced as goats. Afterwards, the villagers believed that Saint Nicholas had performed a miracle. From then on, they perform the ceremony every year on the day of St. Nicholas on September 10th. The dance represents the tradition of rural life that portrays peasant life and the daily struggle to keep the heritage of peasant families alive. The idea is to capture daily life through art. The purpose of the mask used in this dance is to transform the dancers into the character of a goat.
Another prevalent symbol to me is the idea of sin. In The Ministers Black Veil Hooper just suddenly one day shows up to church wearing a veil. At first the people are sort of angered by it. People soon start to flock to his congregation to view the spectacle, and go so far as to test their '"'courage'"' by seeing who will go and talk to him. I think that the veil could represent sin. In The Ministers Black Veil Hooper was either trying to hide his sin from the people so that they could not judge him, which is god"'"s job, or maybe he was trying to protecting his self from the sins of the people. In the end of The Ministers Black Veil Hooper dies, and sees his congregation all wearing black veils, which would probably hint that maybe it represented the sin in all of us. In The Birthmark Georgiana"'"s birthmark could represent, as some religions believe, the original sin which is bestowed on all by the '"'hand'"' of god. But, unlike Hooper, Georgiana could not help her markings.
The ginormous volcano at Akrotiri on the island of Thera during the Bronze Age was devastating, and is speculated to be related to the fall of the Minoan civilization. Starting in 1867, archeologists discovered pottery, a buried city and frescoes. These discoveries are the most significant as the pottery and the buried city helped historians learn about the art, trade and societal aspects of Akrotiri, and the frescoes found revealed more information about Akrotiri’s art and religion. Clay artifacts found at the Akrotiri excavation site give evidence that Akrotiri traded with nearby locations like Crete and mainland Greece, and also with places like Egypt and Cyprus. Clay seals, that would have been used to seal papyrus documents, that were found on Akrotiri have also been found on Crete.
“Mask of Agamemnon” and shaft graves are other important discoveries for Heinrich Schliemann. After leaving Turkey, Schliemann started digging in M...
The Trojan War and its characters are detailed in the writings of Homer, Vergil, Dante and many others. It is a fantastical tale of a decade-long siege of a powerful city by a massive pan-hellenic force. However, even though it has proved to be such a rich source of inspiration for writers, poets and artists throughout history, it is debated whether it actually took place. Heinrich Schliemann famously said “I have gazed on the face of Agamemnon.” on discovering tombs with the bodies of Mycenaean chieftains in Turkey. The German businessman-turned-archaeologist claimed to have discovered the city of Troy at the hill now called Hisarlik – about three miles from the Dardanelles. However, his claims are still disputed today. Before tackling the question of whether the Trojan War actually occurred, we must ask in what form. What exactly do we mean by “the Trojan War”? There is no definitive version of the events in the war, as our knowledge of it comes from a myriad different sources. Then we should consider Schliemann’s discoveries, and the other archaeological evidence for the Trojan War. Finally, after we have defined “Trojan War” in context of archaeology and historical fact, we must then draw conclusions about the extent to which archaeology proves its historical authenticity.
In all societies, the practices associated with religion, burial and death have given archaeology and history detailed information concerning the nature of a society. It is through the study of symbology in particular that we are able to discern the significance of the Minoan religion as it represents various aspects of their religious beliefs and display the impact it has on their everyday lives. Key symbols like the birds, bulls, horns of consecration and double axe can be seen throughout the island of Crete as well as on votive offerings given to their gods from their worshippers.
Marble statue of a kouros (youth), Greek, Attic, ca. 590-580 B.C. Fletcher Fund, 1932. Accession number: 32.11.1
The top piece gives a more somber feeling, with the black face staring blankly forward, showing no emotion. The portion of Ntozake Shange’s poem, no more love poems #3, lady in blue, for which the piece was painted, states “we deal wit emotion too much/ so why don’t we go on ahead, & be white then/”. This blank, emotionless stare shows the expectations for black women to be stoic, whereas it is acceptable for white women to display emotion without being labeled as overreacting or crazy. The ropes, tied around the woman’s waist, signify the restrictions this places on black women; at the bottom of the piece, the ropes appear to be loosening slightly, representing women breaking free of these constraints placed on them by
...ity in Classical Athens. New York, NY: Alexander S. Onassis Public Benefit Foundation (USA) in Collaboration with the National Archaeological Museum, Athens, 2008. Print.
...society left them very vulnerable to attack or takeover, which we know the Mycenaean’s did.
Symbols and Lenses Role in The Handmaid’s Tale Makeup symbolizes the stereotypical women attributes in our modern society. Women are expected to look their best, not necessarily feel their best. In The Handmaid’s Tale, makeup plays just that. Gender roles relating to power, as well as changing appearances, loss of freedom, their past lives, and how the femininity has changed since their society was overthrown. Makeup isn’t mentioned as frequently as the word red, but it is a common theme throughout the novel.
Paul Laurence Dunbar’s “We Wear the Mask” is a lyric poem in which the point of attraction, the mask, represents the oppression and sadness held by African Americans in the late 19th century, around the time of slavery. As the poem progresses, Dunbar reveals the façade of the mask, portrayed in the third stanza where the speaker states, “But let the dream otherwise” (13). The unreal character of the mask has played a significant role over the life of African Americans, whom pretend to put on a smile when they feel sad internally. This ocassion, according to Dunbar, is the “debt we pay to human guile," meaning that their sadness is related to them deceiving others. Unlike his other poems, with its prevalent use of black dialect, Dunbar’s “We Wear the Mask” acts as “an apologia (or justification) for the minstrel quality of some of his dialect poems” (Desmet, Hart and Miller 466). Through the utilization of iambic tetrameter, end rhyme, sound devices and figurative language, the speaker expresses the hidden pain and suffering African Americans possessed, as they were “tortured souls” behind their masks (10).
Late Helladic fortification walls on the Greek mainland are found surrounding citadels, not the entire city or site. The citadels seem to have housed central administration and housing for an elite class of citizens. They were built on hills, presumably as another layer of fortification. I will examine the sites of Gla, Midea, Tiryns, and Mycenae to look for similarities and differences in the design and architecture of their fortifications, as well as, arguments about the purpose of the fortifications at these sites. I will also explore how some sites were hindered or helped defensively and economically by their location and their use of fortifications.
"The Color Purple" is full of symbols which provide a deeper insight not only on the characters but the society of that time as well. If roundness and rose are truly feminine symbols, the teeth, stars, stamps have historical meaning in depicting the slavery. Some objects serve to portray the emotional conditions of the person: needle, names, pants and occupations represent an economic independence and power.