Egyptian Figure Research Paper

The Egyptian period is well known within the 21st century as a cultural phenomenon and represents the idea of mortality and human connections with the spirit world. The work that best demonstrates both mortality and spirt is the statue of Khafra. The reason for this piece of art is because the way humans demonstrated their belief in gods was through spiritual means. Since the introduction of Kha statues being created, it brought the idea of humans being able to have the same power and divinity as spiritual gods

In Middle East culture, Egyptian statues are regarded as the symbols of the belief systems and daily life of people. Egyptian statues were made to be placed in shrines, mosques, and tomb and usually depicted the gods, kings, queens, civic officials, scribes, and the groups portraying a man and his wife. In statues represented the gods, symbolism was more often used to depict the gods as composite creatures with animal heads on human bodies. For instance, a statue human-headed winged lion in Ashurnasirpal II’s place in Nimrud, nine-ton statues of human-headed winged bull that guarded the entrance to Nineveh in the eighth century B.C. Besides, the statues’ size was distinguished follow in order of meaning, such as gods larger than men, kings

This is proof of the Sumerian architectural abilities. The architecture in Mesopotamia are considered to have been contemporary with the founding of the Sumerian cities, but there was some complexity in the architectural design during this Protoliterate period (c. 3400-c. 2900 BC). This is shown in the design of many religious buildings. Typical temples of the Protoliterate period--both the platform type and the type built at ground level--are, however, much more elaborate both in planning and ornament. The interior was decorated with cones sunk into the wall, covered in bronze. Most cities were simple in structure, but the ziggurat was one of the world's first complex architectural structures.

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

Wealth and Power in the Old Kingdom: An Artistic Analysis of “Khafre Enthroned” (2500 B.C.)

In this essay, I will discuss Ancient Egyptian art works from the Old Kingdom. The Old Kingdom, the first of these periods, was the strongest in terms of the centralization of the government. “During the Old Kingdom sculptors created the earliest portraits of individuals and the first life size statutes in wood, copper, and stone” (Heilbrunn). I will examine a double portrait “The Royal Acquaintances Memi and Sabu” from the fourth dynasty. Memi and his Wife Sabu symbolize royalty.

In each room there seemed to be different themes of what was shown on the reliefs. I was located on the east side of the inner court. On my reliefs there were pictures of my king accompanied by attendants engaging in activities that could be identified as pouring libations. I am now classified as slabs 7 and 8, I am 465 cm, and I am made of gypsum alabaster. On my front side is a low relief of my king, Ashurnasirpal II. He is wearing the royal crown, which is a conical cap with a small peak and a long diadem. He also holds a bow, which is a symbol of his authority, and a ceremonial bowl. Facing him is a eunuch, or a “beardless one”. He is carrying a fly whisk and a ladle for replenishing the royal vessel. The upper parts of the body are facing towards the viewer, while the legs, feet, arms, and face are shown from the side. These features, along with the shape of the eyes seem to resemble Egyptian art. There are distinct patterns in the beards and hair of the king and the attendant. Also, the muscles in the arms and legs are clearly defined within the relief. Both the king and the attendant are dressed in long robes, and are carrying swords at their sides. Both are also wearing earrings, and bands around their wrists and upper arms. Flowing across the middle of the relief is actual writing. This writing describes what is being shown on my relief. All of the reliefs in the palace had writing across them

Standing at a small, but significant ten inches, this sculpture is reminiscent of the late Roman portraiture style, but delving into the symbolic expression of the early Byzantine provincial portraiture period. This portrait is from the fifth century, estimated sometime from 400-420 AD. Originally from Syria, Asia by an unknown artist, it currently is held at the Minneapolis Institute of Arts and credited to The Putnam Dana McMillan Fund. The elements within this portrait all are noteworthy in the sculpture contributing toward the creation of this artwork. This piece with will be analyzed first from a general overview and then the features moving from the top then moving to the base of the portrait. Due to the Head of a Young Man not being on display, this analysis will be solely from a picture.

“The Royal Acquaintances Memi and Sabu” is made from limestone and paint. The figures overall are well carved and well formed, their figures being independent of the stone medium. The clothes and hair are simple and stylized, doubtlessly part of the cultural style and having specific cultural attributes. The figure’s faces are very similar to one another, giving me the impression that this is more representational of man and woman, rather than a realistic depiction of two specific people. The two figures are well balanced, with the limestone giving the piece a soft, light feel, creating a sense of harmony and cooperation

They also replicated pharaohs that ruled at the time. The statues and pyramids took great artists to carve hieroglyphics into the stone and to design the building. Art

The two sculptures presented for this assignment are the Statue of Gudea, which dates back to 2090 B.C. (“Statue of Gudea,” 2000) and The Royal Acquaintances Memi and Sabu, which dates back to 2575–2465 B.C. (“The Royal Acquaintances Memi and Sabu,” 2000). Both statues represent people; however, they depict different types of people from completely different time periods and cultural backgrounds. The Statue of Gudea shows the ruler of southern Mesopotamian, Gudea, whose reign was from 2144-2124 B.C. (“The votive statue of Gudea: A formal analysis,” 2011) sitting in a praying position with his hands locked and his eyes forward. He is dressed in what appears to be a lavish robe with an inscription that clearly depicts what Gudea thought of himself and his successes during his time as ruler. The Royal Acquaintances Memi and Sabu represent what is thought to be a married ancient Egyptian couple who are lovingly embracing each other. Aside from looking at

Throughout history, the use of guardian figures has been ever-present and evolving in art. By definition, a guardian is one that guards, watches over, protects, or preserves. In Africa, ancestral reliquary figures are sculpted after the death of a loved one, with the purpose of protecting the remaining family members. In many religious works, a guardian angel appears to watch over children, protect in battle, tend to the sick or wounded, or to take people to the gates of Heaven. In Tokyo, at the Kannon Temple, a beast-man statue is guarding the entrance. In China, dragon figures were used to preserve tombs. Also, common presently, is the use of photographs. People will hang images of deceased loved ones in picture frames so they will have someone to watch over them and protect them from day to day. The examples across history are numerous, each having its’ own importance and function. Guardian figures can be a way to link the living with the dead, show the power of a ruler, gain religious support, or to intimidate and cease tomb robbers.

Over the course of history, human statues have taken on different forms and function. The change in form and function was necessitated by the development of sculptural skill and change of sociopolitical circumstance. The style of sculpture varies from region to region, so I think it is worthwhile to look into the development of sculpture in Mediterranean region. In this paper, I am going to compare and contrast three sculptures: Khafre enthroned from Egypt, statue of Poseidon from Athens and statue of Augustus from Rome. Each work is separated from one another at least several centuries, so these statue would give general idea how sculptures developed during these In the following paragraphs, I am going to compare and contrast these sculptures

In ancient Egypt, there are different types of art, for example, sculpturing, painting, architecture and pottery. Most of the Egyptian art is symbolic in nature and after life, mostly found in tombs. Egyptians used main figures in both relief and painting. The figures had a distinctive pose of standing face forward with one foot forward with the other foot in front to help with balance. The upper body is viewed from the viewer, while the head and legs are to the side perspective. Gods and rules were bigger than your common Egyptians or conquered soldiers, to show strength and power. There was not much of showing details in the body, such as, musicals, hair, skin, and clothes. That would soon would change, when the Greeks area would start.

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive