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The relationship between early Greece and Egypt
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The Statue of Osiris can be found at the Field Museum in Chicago Illinois. It is made out of Bronze material and was created in 664-525 BC by an unknown artist. The height of the statue is 55 cm (21 5/8 in.). The Bronze statue would have been entombed with a mummified body. Osiris, a god of the dead, stands mummiform, arms positioned right above left, with wrapped feet. It was Egyptian that was created in the late period, Dynasty 26 and reflects styles from the New Kingdom.
The Statue of Osiris was originally made out of bronze and oxidized with a greenish-teal coloring. Bronze was used a lot during this time period in Egypt. New techniques were being developed by the Greeks. The direct solid lost-wax technique was used in the manufacturing
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process in creating bronze statues. The bronze-casting method involves a modeled wax figure covered with clay, followed by high heat, melting away the wax. In this particular instance the Statue of Osiris was standing in an upward position on a base with the back of the statue smoothed out entirely finalizing the piece. Osiris typically bore an Atef, a regal and decadently feathered white crown that represented his loyalty to Egypt. It was combined with the Hedjet which was the crown of Upper Egypt. On both sides of the crown, there were curly ostrich feathers. As a flightless bird, the ostrich is grounded and loyal to its country, much like Osiris strived to be to uphold his crown. However, their shape is really what defines them. The feathers have a slight flare towards the base of the statue and at the upper end of the feathers, there was a powerful arch. Unassuming at first, it became clear that the right wing was dramatically damaged and missing a considerable portion. The oxidation respectively gave forward a slightly washed copper appearance towards It’s crest. It compared well to the greenish color that coated the most of the statue. Looking directly at the crown a noticeable was decoration simplifying Uraeus (cobra) can be easily seen. This ornate symbol displayed a bronze serpent, slithering between his eyes. There are multiple signs that were apparent upon observing this piece.
The beard was a sign of being divine while the headdress associates the god with the ruling Pharaohs. Above all else, Osiris’s features were naturalistic, a representation that was based on the actual depicted in the physical artwork. Upon further inspection, the figure had a round face with deep idealized eyes carved out , leaving noticeable black shadow matching the lack of glare on the upper rounded cheek structure. The eyebrows were contoured (to say the least). He had prominently large ears that were pulled back to accentuate his thick lipped, yet slight smile. That smile lifts the figure's cheeks up, giving it life and energy as an otherwise small potentially noticeable feature. His arms are projected out of the mummy-like wrapping. The right arm laid on his chest and his left arm was positioned below, at his stomach. Osiris’s right and left elbow are spotted with brown coloring. Corrosion has left a small hole on the left side of the chest as well as smalls cracks throughout. His hands gripped the crook and flail, one above the other. The crook and flail are symbols used in Ancient Egyptian society; they were originally the attributes of the deity Osiris, who became a symbol of Pharaonic authority. Osiris reflects this symbol of power with his idealized beard which was straight braided beard and falsely fastened to his
chin. Osiris’s feet are bonded together and the appearance of being tightly wrapped like a mummy. Osiris was standing on a square base that was one inch tall. At the right side of the base, there was more corrosion on his feet that lead down to the bottom of the base of the statue. The Egyptian bronze statue of Osiris that was portrayed standing, wearing Atef crown with uraeus and false-breaded beard, arms at chest, and hands together holding a crook and flail. As a god of the underworld and afterlife, Osiris typical was symbolized as a mummy. He became idealized as a protector and patron of the departed, promising them resurrection and eternal life belonging to the New Kingdom’s style of art. Osiris has been used to exemplify power from being carved in the temple of Ramses II to continuing his legacy on to the late period, in forms of small bronze statues that were used in funeral barrels. He created hope and fear since he had the power to decide if a person's soul would resume to live in the afterlife and enjoy all that it had to offer.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
The color of the stone of the statue of Kouros I would describe it as beige. The repairs to the statue are all over the body. It has cracks all over the arms, chest, back, etc. his headband is fastened by some thing on his head that looks like beads with spaces throughout them. It is from 590-580b.c during the archaic period. It stands pretty tall and also has a little staggered going on with his right foot back and his left foot up.
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 Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.
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.
The pieces of sculpture are both carved using the subtractive method of sculpting from stone. However, the types of stone used were very different. The sculpture of Mycerinus and Kha-merer-nebty II was carved from a stone called greywacke, a dark colored, very hard stone the Egyptians prized for sculpture despite the fact t...
The Egyptians often included lions to symbolize strength, leadership, loyalty, and war. The top of the palette also includes a human face with bull horns. This was done in attempt to represent the gods the ancient Egyptians believed in. These gods are associated with power, masculinity, and fertility.
Many ancient societies were fixated on different beliefs and deities throughout the early stages of civilization, and some of the earliest signs of these periods of mythology begins with the early Sumerians and evolve into many different African cultures. As the recognized birth place of both human existence, as well as the rise of civilization. One of the more significant and more influential figures in the discussion of ancient mythology is Osiris and the history and depiction of him in Ancient Egypt. This story outlines many influential things in Egyptian society, such as the conflict between order and chaos, death and the afterlife, conceptions of kingship and succession, as well as many of the early influences of Egyptian religion in the early stages. Much of the evidence of Osiris lies in the Pyramid texts, seeing as the timeframe for the myth was around 24th century BC. Many of these same texts arise in the Middle and New Kingdom of Egypt and are influential in Egyptian folklore, as well as the storied history of the civilization. Many of the figures included in the legend, which include Isis and Horus were prevalent in many clans throughout Egypt. Much of the history surrounding Osiris has been lost, but many ancient historians and famous writers in the ancient world attempted to piece together his story.
The Palette of Narmer was created on a flat stone surface; the artists then carved the story into the flat stone in a very specific manor. This palette is known for representing the coming together of Upper Egypt and Lower Egypt (Stokstad and Cothren, 52). At the top of the palette on both sides shows two bulls that were said to possibly represent the goddess Hathor. Hathor was known as the goddess of protection, and is depicted in other Egyptian art as a woman with cow ears (British Museum, no page). In between the heads of Hathor is the name of the King Narmer, written with iconography called serekh. In this serekh, one can see the Horus falcon head and below it is the name of the king. The falcon head is said to protect the Egyptian ruler (Kinnaer). Although this is just one small piece of the top of the palette, it already starts to depict an enormous part of history in Egypt.
The Statue of Liberty is one of the most well know symbols of the United States, across the world. For this reason I chose to analyze the dramatic effect it creates, and what methods it implores to invent this "universal" meaning. It is one of the strongest visual representations of the ideals which our country is founded upon. I intend to defend the argument that the Statue of Liberty posses the power of persuading human thought using the terms encompassed in Kenneth Burke's Pentad, shaping the definition of "America" for people through out the world.
Egyptian art is infamous across the world - classified by the monumental pyramids, and the Sphinx. Although these are both valid forms of Egyptian art, they do not make up the entire artistic history of the country. On the contrary, perhaps the most replicated example of classic Egyptian art, from the Old Kingdom, can be found in their rendering of the human form. An interest in portraiture developed early in Egypt. (Gardner, 75) Whether painted on pottery, or cut into rock, the figures all had notably Egyptian characteristics. "The seated statue is one of only a very small number of basic formulaic types employed by the sculptors of the Old Kingdom." (Gardner, 75)
The pieces of art I will be comparing and contrasting are the three statues of David, by Donatello (Donato di Niccolò di Betto Bardi), Michelangelo (Michelangelo di Lodovico Buonarroti Simoni), and Bernini (Gian Lorenzo Bernini). The statues are modeled after the biblical David, who was destined to become the second king of Israel. Also most famously known as the slayer of the Philistine giant Goliath with a stone and a sling. The sculptures are all based on the same biblical hero, but differ from one another. Each David is unique in its own certain way.
This is a copy of the sculpture of Athena Parthenos, dressed in battle attire, that was originally created by Phidias during the period of 447-39 B.C. The statue of Athena Parthenos was to be constructed, not of bronze, but of gold and ivory. The face, arms, and feet of the statue were to be made of ivory and the clothing, of thickly plated gold. The statue was an enormous size that towered thirty-three feet tall. The costly nature of the materials out of which it was designed was intended to overwhelm the viewer, creating a sense of religious awe.
Let’s begin with what was going on during the time period for each sculpture. During the 2458-2446 BCE. Userkaf was thriving over his brother Sahure, and he became the new ruler of Egypt. In the start of 2446 BCE, Neferirkare beings his dominant over Egypt. King Sahure and Nome God is a high relief it is still attached to a surface of a stone. The Pharaoh sitting on his thorn wearing a Nemes headdress (it is usually blue and gold striped), fake beard. The king has an emotionless facial expression. It was made for a decoration for the king pyramid complex. The symbol behind this statue could be the gathering of the Nome gods form Upper and Lower Egypt around t...
The Nike of Samothrace captures the essence of the goddess in a dramatic pose. Her body leans forward as her robust wings heave upwards, creating a magnificent balance and sense of motion. Recovered in the Sanctuary of the Great Gods by a French explorer in 1863, the statue stands 8 feet tall. The deep lines and contrasting textures of the feathers, fabric, and skin allude to the elegance of past Greek style. Of all similar remains from ancient Greek art, this famous Hellenistic sculpture best reflects the sense of pride, honor, and victory associated with the goddess.