People of Je-ju have developed and kept their traditions for a long period. This island represents a home to thousands of local legends. “Stone grandfather,” originally named Dol Hareungbang, was constructed and carved from a block of basalt. Tall, short, and cylinder-shaped wooden and rock structures painted with only black and grey color and sometimes those are hard to notice along the highway. Every moment I see this statue, it freaks me out because when I see it from far away, it looks like a tall person standing still, but moving closer and closer you might realize it is just a rock shaped into human form. I was so curious I stepped more closer and glanced through the details of the statue. When I touched it, the texture was rough, hard,
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.
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
The sculpture is small, approximately 4 3/8 inches, and is carved of oolitic stone, a porous limestone. Since this particular stone is not found in the area, it is believed that the sculpture was brought from another region. The size and shape of the figurine fit comfortably in the hand, which suggests the figurine was meant to be carried. Witcombe, sec. -.... ... middle of paper ...
The medium is Granodiorite and the technique used was sunken relief, which is a technique were the sculptor chisels deep outlines below the stone’s surface. The sculpture does not seem to be originally painted. The Egyptians created coloristic effects through contrasting shadows and highlights. They used natural pigments to color some sculptures, however this was not the case. There are deeply cut areas in the back of the statue that create deep shadows and the use of natural light helps to bring up the highlights. The granodiorite has natural colors that helped the sculptor show more of those shadows and highlights. The statue is mostly in a warm hue and it may be caused because of the lighting inside the museum. These warm colors make the details stand out more. At a closer look of the structure there are different colors that can be easily identified, such as white, yellow, brown, black, gray and small spots of orange. The statues seems to be carved in one piece. There are no signs indicating it
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
The Jemez people have a famous creation story that they tell their children. There creation story is this “Long ago, Pueblo people lived far away up north. At first they lived underground, in a holy place called Sipapu. Then people climbed up through a hole in the earth into the sunlight. God guided them for many years as they wandered. People suffered many bad things like tornadoes and drought and bad magicians, before they got to a good land where they could settle down”.
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 my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
John H. Johnson was born January 19, 1918 in rural Arkansas City, Arkansas. His parents were Leroy Johnson and Gertrude Jenkins Johnson. His father was killed in a sawmill accident when little John was eight years old. He attended the community's overcrowded, segregated elementary school. In the early 1930s, there was no public high school for African-Americans in Arkansas. His mother heard of better opportunities for African-Americans in Chicago and saved her meager earnings as a washerwoman and a cook and for years until she could afford to move her family to Chicago. This resulted in them becoming a part of the African-American Great Migration of 1933. There, Johnson was exposed to something he never knew existed, middle class black people.
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
...one. Even though his pose is off balance it remains very orderly. The top of his head lines up perfectly with his facial features, navel, and the ground confirming the presence of an axis mundi. This gives it a divine quality because organic forms do not achieve such perfection. It is a three dimensional freestanding sculpture and has a complex shape, especially when silhouetted. The motifs and aesthetics of this piece are heavily stylized. The posing of this sculpture has very active movement and carries a sense of fluidity and control. The warrior god appears powerful, restrained, and delicate all at the same time. This portrayal delivers appealing qualities of Buddhist enlightenment, the ultimate level of self-restraint over physical and mental prowesses.
This stone sculpture is a naked human-like figure standing six feet tall. The body is in chiasmos stance with the left leg slightly bent and the left foot slightly behind the right. The head is turned slightly downward and to the right, and its size is approximately 1/6 of the body. The hair is cropped closely to the head with no part. The body has a defined musculature, however the forearms appear to be missing. There is an object behind and to the right of the right leg that is about 2 feet tall and 10 inches wide.
The Marble Grave Stele is a horizontal piece that was embedded in a larger piece of marble. The inscriptions of the names of who died have long been lost. Thus, we must interpret for ourselves what the full meaning of the piece is. The artist of the piece is unknown, but it was constructed in Greece in around 360 B.C. during the Classical Era and stands at 171.1 centimeters in height. Its original location, as its name suggests, was at a gravesite; currently, it is located in New York City at the Metropolitan Museum of Art. The Stele was carved from marble. Overall, it is in good condition; however, the body of the woman on the left is missing with only her head surviving. Its stone frame in which it was set is also missing. This frame more than lik...
I am a figurine that resembles a human being, many other statues of the Aegean Era have little resemblance to a human, but differently, from the other statues from my era, I actually look like a human. I am made of clay and my height is around 13½ inches or approximately 34.3 centimeters. I am dressed in “typical Minoan clothes, with a long skirt and a tight open bodice that leaves my breasts uncovered and I am holding a snake in each hand” (). Many still don’t