As all humans are well aware death is inevitable. Human cultures and death have always been closely knit together. Varying between location, time, and struggles you may notice societies adopt and update their cultures and as these cultures change it sometimes if reflected by how a civilization honors their dead. In fact, the way a civilization’s way of honoring their dead is very important to historians and archeologists as they help put together pieces regarding religion, the civilizations stance on mortality, art style and tell stories that can further clarify history. The topic of death is an extremely broad subject having many confusing and sometimes hard to notice difference that are hard to distinguish. An example of this might be Greek …show more content…
First off, the Alexander Sarcophagus is shaped like a Greek temple which is best displayed by a roof however, the egg and dart design across the top, meander and vines further support this idea that the sarcophagus is shaped as an actual Greek temple. In contrast, the Ludovisi Sarcophagus really only resembles a stone box in respect to its shape. There is a difference in texture between the two as well, we can see that in the Alexander Sarcophagus the texture is smooth and has the Classical Greek look to it. Ludovisi Sarcophagus here uses lots of rugged textures to display the barbarians (away-team) and the smoother parts were used to display the Romans. The techniques used between the both of them are highly contrastable; the Greek use a classical smooth carving and easier on the eyes very crisp and clean. Once again contrary to the Romans, which has 3-4 layers of people stacked on top of one another and they add more complexity to their dimension like using deeper carvings to use the shadow that it creates for an effect. The demographics seem to not vary by much however. The Alexander Sarcophagus was speculated to be the “King of Sidon from 4th century BCE” according to Khan Academy host while the Ludovisi Battle Sarcophagus was speculated to be someone who was wealthy meaning that both of these …show more content…
In both of these sarcophagi there are two sets of people the barbarians (away-team) and their own people (home-team). In the Alexander Sarcophagus the Greek (home-team) are sculpted without any clothes this is because the Greek seek to bring out more naturalistic features since they appreciate the human body opposed to the barbarians which are completely clothed and wearing distinguishable Phrygian caps. Romans are similar to Greek in that they differentiate their people and the barbarians. In the Ludovisi Battle Sarcophagus Romans are displayed primarily by having a calm and serious look on their faces. In addition, they are more pristine looking as the parts of the marble used are more smooth and less carved in thus having less of that Roman shadow effect on top of having a “wet body” look vs. the Goths (barbarians in Roman art) which are displayed to look more rugged by using deep carvings in their face and hair to create shadows on them furthermore the looks on the Goths faces have more expression open mouths and (in my opinion) in awe or regretful and lastly unlike the Romans their clothes do not have the “wet body” look at all their clothes are more
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.
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 human figures appear in the flesh color of the original clay, with the details and background painted using black slips. The contrasting sides not only have different stories, but have inconsistent artistic and craftsmanship ability, skill, and style. Because, recreation was so crucial to Greece, the story of Theseus and Helen appeared in many other forms. Although in the other vases I examined the characters were not deliberately labeled, the themes and styles remained constant and hinted at the same myth. Our narrator is consistent with the style of other vases using the red-figure technique, but different in imagery.
Roman portraiture is more realistic than previous idealistic Hellanistic styles. They better depict each subject’s individuality to a degree never seen before. The purpose of Roman portraiture is to address the audience and convey specific messages to them.
The Romans believed in the afterlife and most scenes, for those who could afford it, was a reflection of this type of belief system. Using the Endymion sarcophagus as an example, it was made during the Mid–Imperial period during the time of Severan Dynasty, and in the early 3rd century AD. The Endymion sarcophagus is created, in lenos form, out of marble and was acquired by the Metropolitan Museum of Art through the Rogers fund 1947. Across the front of the Endymion sarcophagus we have the mythos of Endymion. Like the Badminton Sarcophagus, the facing scene depicts the conquering of death in the cycle of immortality and eternal sleep. In the middle of the sarcophagus we have Endymion, the most beautiful of men, being visited by a Selene who
Cumont argued for a complex allegorical symbolism concerning the fate of the soul after death. On the other hand, Nock stressed the importance of linking the myth to other areas of Roman art and their association with classicism and education. More generally, the use of myth on Roman sarcophagi as either allegory or decoration is part of a larger argument of whether it represents hopes and beliefs about life after death and assimilating the deceased with the myth or asserting messages about the life of the deceased before their death. Most recently Paul Zanker and Bjorn Ewald have widened the debate to suggest that myths can be read as consolations to the person who lost their loved one. This paper will be placed within the above debate by analyzing the sarcophagi of C. Junius Euhodus and his wife Metilia Acte, which depicts the Alcestis myth. I will be focusing on how the sarcophagi emphasizes the couples victory over death; how the patron who commissioned the sarcophagi influenced what was depicted, and the everyday themes that relate to Roman customs such as
Stone working was another popular artistic medium in the Roman Empire, which had found its inspiration from the Classical Greek masters. The Bust of a Matron follows in this Roman tradition of verism, which aimed at depicting the subjects as true to their natural appearance in a superrealistic style (Kleiner 242). It represents an example of the Roman artisans’ mastery of the human facial anatomy and the ability to manipulate the stone into a lifelike portrait. Although her expression is stoic and refined, the anatomy of her face does not appear hard like the limestone that she is made of. The matron’s face is life sized, similar to the Mummy Portrait, which makes it appear as though the viewer is looking at a real person. The bust could have been displayed in an atrium or sanctuary, which would have allowed her family members to pay their respects to her and perform the necessary rituals. As opposed to the Mummy Portrait, this bust is a work that would have been accessible after her death––a public object for commemoration. Her nose has been broken off at the top and her left shoulder is missing. Since the object would have circulated in the public sphere, the bust would be subjected to more
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
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 discovery of Pompeii showed a rich pictorial heritage and provided insight into a previously limited knowledge of Roman aesthetic. Frescoes and paintings found in Pompeii are marked with unique characteristics. For example, “the walls of some rooms are painted with frescoes designed to give viewers the impression that they are looking out upon gardens and distant buildings” (Fiero 163). This art can be categorized into four styles. Style I was a simple and bare style of painting that sought to imitate marble veneering and mainly featured black, yellow, and red coloring. Style II was dominated by t...
The concept of human mortality and how it is dealt with is dependent upon one’s society or culture. For it is the society that has great impact on the individual’s beliefs. Hence, it is also possible for other cultures to influence the people of a different culture on such comprehensions. The primary and traditional way men and women have made dying a less depressing and disturbing idea is though religion. Various religions offer the comforting conception of death as a begining for another life or perhaps a continuation for the former.
... middle of paper ... ... The Roman’s continued with a more realistic style with such statues as Aristocrat with Ancestors and Marcus Aurelius. In wall paintings at Pompeii, the artists used great color and realism on the people’s faces.
In the West Tower at The San Antonio Museum of Art I came across the sarcophagi. It was well detailed and interesting to look at; every time I would glance at it I would be drawn to another part of it. This is a three-dimensional piece of marble made by Romans. Sarcophagi were made to place human remains. The medium of this sarcophagus is Encaustic. On this sarcophagus, you can see the value of it moving from one side to the other. The balance of the sarcophagus was meant to be symmetrical, if I were to cut this in half I would have just about the same on both sides. It has rhythm and the images seem to mirror one another. Roman sarcophagi were mostly decorated on the front and two short sides. The resemblance of the garland and fruits on the
While the end of life experience is universal, the behaviors associated with expressing grief are very much culturally bound. Death and grief being normal life events, all cultures have developed ways to cope with death in a respectful manner, and interfering with these practices can disrupt people’s ability to cope during the grieving
Roman art was also deeply influenced by the art of the Hellenistic world, which had spread to southern Italy and Sicily through the Greek colonies there. The Etruscans and Babylonians can also be seen as inspirations. “With the founding of the Republic, the term Roman art was virtually synonymous with the art of the city of Rome, which still bore the stamp of its Etruscan art” (Honour and Fleming,1999). During the last two centuries, notably that of Greece, Roman art shook off its dependence on Etruscan art. In the last two centuries before Christ, a distinctive Roman manner of building, sculpting, and painting emerged. Indeed, because of the extraordinary geographical extent of the Roman Empire and the number of diverse populations encompassed within its boundaries, “the art and architecture of the Romans was always eclectic and is characterized by varying styles attributable to differing regional tastes and the div...