Analysis: The Reliquary Guardian Figure

From my observation at the Met, this sculpture is inside a medium glass and space. Also, it is by itself in the glass. It is a three-dimensional sculpture created by modeling and merging hard materials. Next to it there are other deities (Vishnu, Parvati, Ganesh etc.) and sculptors from the Chola Dynasty. The other works near it complements the sculpture as I have stated above they are from the same time period so, they are related to each other some way and

For example, the warm tone of the orange and the rich dark green being illustrated across their clothing drapes a characteristic of higher authority and a feeling of security. The figure at the bottom of the guardian’s foot shows that his face is also dark green which expresses a conception that he is losing oxygen. Furthermore, the solid smooth glaze on the guardian’s armor within the sculpture gives the Lokapala guardians an appeal of a polished texture. Compared to the appearance given to the figures, the faces of the guardians have a rougher texture. Thus, the various forms of polished and rough textures amplify the artwork’s contrast to human skin and armor. The beaming lights around the display reflect on the glaze coat of the artwork, giving extreme depth of highlight and subtractive light throughout the piece. The Pair of Lokapala also interacts with the atmosphere of the low dimmed light of the museum and gives it an entrance of settle warmness and forms settle shadows on the figure’s facial features that emphasize their emotion of seriousness. Lastly, the artwork invites the viewer to walk around the piece, making the sculpture superiorly larger than the individual due to the elevated height and contrast between the guardians and the figures at the bottom that appear to be squished. The use of space is intentionally developed to evoke an element of power due to the guardian’s height, symbolizing the

The Eagle-headed Apkallu Guardian Figure is a low relief sculpture from 883-859 B.C. Assyria. Made from gypsum, this sculpture measures approximately 42 1/8 inches tall, 26 inches wide and 1 ½ inches thick. The sculpture is mounted on the wall of the dark, navy-blue painted Antiquities section of the Museum of Fine Arts Houston, dimly lit by the luminance of showcase lights. The guardian figure watches over the room as visitors pass through the archway between two exhibits of the Museum of Fine Arts Houston. In The Eagle-headed Apkallu Guardian Figure, the artist uses compositional choices, stylistic

The primary theme of the novel is that power and authority, when unrestrained, can be very destructive as well as hostile. The Vigils have established, their own universe in which all of the students must follow the rules they set. Eventually, The Vigils end up becoming so powerful that no one dares to defy their orders until Jerry decides to stand up against them. This theme is important because it defines the moral behind the story, and explains why the author wrote the novel the way he did, there is a fixed power structure at Trinity high school. Unfortunately, it's extremely hard for a single person to stand up to a majority or whole, and it doesn't matter if the person has a right or wrong concept.

Standing at a height of twelve inches tall, this Vessel was one of many Aztec artifacts form 1300 A.D. It is made from brown earthenware clay and is painted with red with intricate details in black. It was used to represent death and the power in it, through the red and black paint. This piece is highly polished to show the black and red color contrast. This vessel was from The Aztec who was inspired by the horror of blood and death. On this piece, as well as of the other pieces in this collection, there is a stamp of the horror of death, to express that there is no higher brutality than the deceased. This stamp signifies the religious and cultural significances of the Aztec barbarians since it displays the warrior of a cruel God and that they

The name the piece I performed my article review on is called the Male Nok Head which is from the village of Nok, located in Kaduna State, Nigeria. The artist is unknown and it dates back to circa 550-50 B.C.E. The materials used for the construction of life-sized statue is Terracotta which is a baked clay.

Both sculptures give a few views of how these individuals were looked at. They were gods so the sculptors portrayed them as such and they did it with great skill. We will observe and pick apart these “Gods” doing things that normal humans cannot no do. Such as holding the world on their shoulders or sleeping on a snake with ease. This idea of mythical beings has been around for many years along with their religious beliefs, no one honestly knows if they ever existed but through evidence found, we think otherwise. We think this because the viewer sees one of the "Gods" asleep on a serpent(snake), then the other sculpture is of "Gods" assisting another holding the world (heavens). Two examples of mythical "beings" would be the sculpture of

At the top of the monument is Faith. Faith is pointing her finger to heaven where God is, and in her hand is the Bible. She has a star on her head because she is given wisdom. Without Faith the rest of the formula falls apart. Under Faith are four statues, Morality, Law, Education and Liberty.

This relief sculpture was built to commemorate Naram-Sins victory from the Lullabi people. In contrast to other artworks, the artist here decided to create a new type of composition. In this relief sculpture, the focus was on creating a symbolic perspective and not a naturalistic. This can be seen in the scale of Naram-Sin and his body language. Furthermore, his closeness to the deities and his horned helmet both symbolize that he is close to the gods. Another element the author uses is chaos and organization. One one side of the releif scultpure, there is chaos and agony. However, Naram-Sin's army seems to be in perfect order and following their leader.

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

The first artwork we were required to find was a Grave Stele. The one that caught my attention was titled Gravestone of a Prominent Family. It is a 59-inch Greek stele made out of marble which dates back to 150 B.C. It was made in Smyrna which happens to be present day Turkey. When I saw this stele, the first thing that caught my attention was the sunken relief and the four different figures in the middle. The stele itself is a very detailed work of art. At the bottom of the stele, there is Greek writing that honors the family. In the middle there is the sunken relief aspect of the stele. It displays what seems to be a family standing around a torch. On the right you can see the women figure standing holding a tall torch, while on the left you can see the man figure with two children around him in

Note the figures near the gutters. These are called gargoyles. What might they represent? Why do you think they are part of a religious

African art has played an important role in the culture of the world. The sculpture is the most common traditional culture expression for the African art. The different sculptures are shown by their local styles and they serve for the specific functions, such as religion. From some of these old art pieces, we figure out this kind of traditional culture expression already existed in the African for such a long time. In this paper, the art piece I am going to analyze is the Female Figure with Child and it made by Akan-Asante people. The Akan people of Ghana have been recognized for their various and attractive culture and it located in what are today Ivory Coast and the republic of Ghana in Western African. The Akan people are combined by different groups, such as the Anyi, Akawpim, Akyem, Aowin and Asante, and these people have their own dialect, but they share a lingua franca, which called Twi. The sculpture I choose could effectively reflect its own distinctive culture, because of the social connection reflect on the royalty, the comparison with other local art pieces, like Akuaba fertility dolls and its specific art form.

Within this essay I will try to provide information that explains what “Ouroborus” is, investigate and include text that links the Ouroborus to many different carving cultures that the Ouroborus has had or still does have an effect on, and cover some of the many different impacts this symbol has an those cultures.