Analysis Of The Beaker With Ibex Motifs

The spherical form is decorated with engraved with stylistic depictions of animals in the legends originating from the tribes who where from the area she spent her formative years. Although “Eran” is made of metal, Dr. Thancoupie Gloria Fletcher has created many similar spheres out of ceramics. One such ceramic sphere is called “Moocheth, the Ibis Arough, the Emu Golpondon, the Ibis’s son”. These pieces make use of the beautiful, symmetrical, spherical form, which is an important symbol in Aboriginal culture, as it represents the Earth, fire, motherhood and unity. The spheres are decorated with engravings of animals. It also appears that she has applied some kind of glaze of oxide to the piece, and then washed it back, leaving darker lines in the engravings. Her artworks are powerful as they convey the narratives of her ancestors using stylistic designs and images, often depicting Australian

The Harvester Vase was found in Hagia Triada on the island of Crete. This vase is from the Late Bronze Age, dating from 1550 to 1500 BC. The vase was originally made in three parts and was fitted together. The face is oval shaped and has a vessel on the top. The vase was carved on brownish steatite. The vase was originally glided with gold and hammered to paper-thin thickness. This piece is decorated with low-relief sculpture and shows a unique scene. The piece has pictorial designs. The composition is powerful, rhythmical, and lively.

Description/Source: This artifact shows a ceramic bowl that was used by the Mayans in everyday life for pottery making and used in everyday art.

Copper-alloy basin with Christian and Islamic motifs, probably northern Iraq, mid-13th century AD. (1247-1249), brass inlaid with silver, H: 22.5 x 50.0 x 50.0 cm. Probably Damascus, Syria. The Freer Gallery of Art Museum, Smithsonian Institution.

The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare

Part 1: During the 1960's an archeological dig conducted by James Mellaart took place in what is now modern day Turkey. Mellaart was just one of many archeologists who wanted to understand the civilizations of the Neolithic age, and Catalhuyuk (an early civilization which lived in what is now modern day Turkey) in particular. The dig led to a discovery of multiple female figurines made from baked clay called Venus figurines. These figurines were most likely created around 5,000 B.C.E.

Object 139443 is an anatomical votive (Appendix 1) and is currently part of the collection of the British Museum (British Museum, 2016). It is a life-sized replica of a right hand, cast out of bronze, and has a six-line dedicatory inscription carved into it post-casting. The inscription is indicative that its intended use was as a votive offering to the god Ta’lab Riyam (Appendix 1). The language used in the inscription is Sabaic. Traditionally, this was the language of the Sabaean kingdom (Stevenson, 2002). Currently, it is on tour with the ‘History of the World in 100 Objects’ exhibit (British Museum, 2016). At the time this object analysis was written, the tour was at the National Museum of Western Australia. The hand originates in South

This was common during this period, as they represented as zoomorphic masks, where humans are made to look like animals. Around the birds, the artist designed geometric images to fill in the space. In order to separate the images in the background of the you, the artist incorporates bands. This creates a symmetrical layout of the different images around the vessel, as they repeat. The animal motifs outside of the background also repeat symmetrically, as you circle the you.

It was amazing to experience the excitement of ceramics art at Los Angeles County Museum of Art and seeing the eyes of people who were staring at the ergonomically well designed Jomon pot that looked very difficult to design by hand. The size of the Jomon pottery was 22 inches in height and is nearly equivalent to a fish bucket and the shape of the Jomon was a wide cylinder that looked like it could store lots of amount of water and fish. The Jomon had a combination with variety types of clay that were shadow and tint colors. The following date this Jomon pot was created was during the middle age of the Jomon Culture which was (c. 3000-2000 B.C.). The artist that created this Jomon pot was named Hamada Shoji and the

I chose to complete my art analysis on Sunkoo Yuh’s three-dimensional ceramic sculpture Athens Winter, which was completed sometime during 2008, in only a period consisting of six months (SunKoo Yuh: Seasons); the inspiration of the title comes from the place and season in which Sunkoo Yuh’s work was created (SunKoo Yuh: Seasons). By looking at the model, it is noticeable that Yuh used clay in order to create the organic form structure and had the paint glazed. It also appears that the artwork was made in two pieces conjoined together at the bottom of the rocks and above the wolf’s head. Throughout the work, I was able to see a variety of figures consisting of people, flowers, fish, rocks, mythological creatures, animals, skeletal remains,

Early Chalcolithic 2 and Middle Chalcolithic period settlements (Gülpınar II and Gülpınar III) in the Sanctuary of Apollo Smintheus (Smintheion), located in the southwestern corner of the modern Biga Peninsula in north-western Anatolia provides important data about Western Anatolian ground stone industry. Systematically examined the ground stone assemblage of Gülpınar, yielded a group of unique tools identified as stone weights/net sinkers. These sporadic findings are very curious because they are not common in North East Aegean and Western Anatolian ground stone assemblage.

In the 13th and 14th centuries in northwestern Iran, a style of decorative arts emerged under the rule of the Ilkhanid Dynasty- a branch of the Mongol Dynasty led by Hulegu or “Il Khan.” (metmuseum.org) The artistic traditions of the Mongols quickly assimilated into the Islamic lands as a result of the cross fertilization of trade amongst craftsmen and artists along trade routes, thus breeding the production of a new style of decorative art that combined Eastern Asian motifs with Western Asian colors and pattern work. Islamic art styles expanded during the rule of the Ilkhanid Dynasty, and included objects ranging from ceramics, textiles, jewelry and manuscripts. The intricate bowl presently exhibited at the Asian Art Museum in San Francisco, CA, was produced in approximately 1275-1400 in the Kashan region of Iran, and inhabits the cross-cultural style that flourished during the Ilkhanid period. It measures 4 inches in diameter by 8 inches in height, and most likely functioned as a decorative art object for display purposes and not as a utilitarian item for every day use. (asianart.org) The demure and dainty bowl is visually powerful

After the discovery of luster painting, Islamic pottery began to see even new techniques and innovations during the Middle Islamic Period from the eleventh to the fifteenth century. This time period saw an increase in Islamic art production and new pottery techniques because of the political changes brought about by the invasion of Turkish tribes and the expansion of the Muslim faith (Cooper 1972). Many significant advancements in pottery production occurred because of the rediscovery of an artificial clay mixture called faience. Faience was “first employed by the Pharoanic Egyptians [and] is a man-made mixture of potash, quartz, and white clay” (Jenkins 1983, p.13). Faience was such a groundbreaking non clay mixture for Islamic potters because

This vessel is a typical example of Geometric style pottery. It has many simple geometric patterns repeated on the surface. Except simple pattterns, it also has some animal figures painted on the main body. The color of this vessil is simple. Comparing to the Krater from the Dipylon Cemetery, Athens, many similarities can be noticed since they both are painted in Geometric style. They bothe have simple patterns such as ziazag, staight lines, triangles, and so on. These motifs forms many horizontal bands to decorate the vessil. The color that these two vessils used are similiar and simple.

Meanwhile, assiduous ‘ethnography (Harrison et al., 2014, p.14)’ provides evidence of the consumption habits of Ancient Greeks. High end pottery, designed to promote the owners status, included the addition of precious metals. Society’s elite paradigm of leisure included boisterous ‘drinking games (Hughes et al., 2014, p.92)’. This Stamnos functioned as a vessel for mixing wine enjoyed by heavy drinking Greeks who seldom enjoyed their wine ‘neat’. The average Ancient Greek pursuing a life of temperance regarded Attic pottery as affordable, functional, ‘multipurpose containers for everyday domestic use (Hughes et al., 2014, p.92)’. Proclivities towards Attic pottery, ‘particularly through marriage and funeral ceremonies (Hughes et al., 2014, p.92)’ maintained the Ancient Greek’s piety. Mythical narratives within Attic pottery appealed greatly not only to modern collectors but to Romans and Etruscans before them. An example of this appears on this Stamnos, in the form of the iconography upon the warrior’s shield.