Figurine Of A Woman Analysis

Discovered in a burial site labelled Grave Circle A, shaft Grave IV on the citadel of Mycenae by an archaeologist named Henrich Schliemann (1876), the original mask has been claimed to belong to the grave of King Agamemnon of Mycenae. This claim has since been questioned for it verity since the grave was likely dug as much as three centuries before Agamemnon is thought to have lived and ruled. Nevertheless, the death mask has an aura of romance and mystery about it since it reveals so much about the cultural and social practices of the civilization of Mycenae, who like other ancients such as the Egyptians made funerary masks for their powerful and wealthy dead.

Women acted as priestesses, made official decisions in and amongst the community, and were responsible for organizing commune functions (Witcombe 10). These responsibilities and duties were not often jobs of men in Minoan civilization, “Moreover men are rarely seen in commanding positions, despite attempts to identify them in such positions” (Witcombe 10). It is suggested that the reason why women played such a huge role in Minoan civilization was due to the fact that in Minoan religion they worshiped goddesses and they were greatly influenced by them. It is believed that The Snake Goddess was an important figure in Crete at this time, and was worshiped along side of the Huntress, and The Mountain Mother. Mainly focusing on The Snake Goddess she represented a strong, powerful female deity, who overall acted as an icon for women. The influence The Snake Goddess had on women was substantial. Women became more than just members of the community, and gained a place in society. It was no longer a man’s world but a world run by women. Even ancient frescoes and other forms of Minoan artwork provide evidence of women being more vital than men, because depictions of women were more common than men (Witcombe 10). After examining women’s key roles in Minoan civilization it becomes apparent that The Snake Goddess influenced women in Crete in many different ways and played a significant part in Minoan civilization.

Ancient Greek art is something to be admired; the accuracy of the figures, compared to Egyptian art is commendable. The art works show great depths of emotion and detail. The “Grave stele of a little girl” is a beautiful relief of what appears to be a small child holding two birds. The forearm resembles a young child’s arm because it seems that the “baby fat” is still present, but it is strange that the face has less-childish features. The figure is in strict profile, which possibly suggests a Greek sculptor, in addition to the intricate detail and the contrapposto. Egyptian sculptors did not have

One may ask, who are the Minoans? Well they are considered by many Historians and Archeologists to be the first great European Civilization. Some people believed that this was the mythical land of Atlantis. They were located near the Aegean Sea and lands such as Greece, Troy and Asia Minor. One interesting fact is that these people never called themselves the Minoans. There wasn’t any name listed in the history books for these people but the Ancient Crete Civilization. They were known as the Crete Civilization because they lived on the island of Crete which is now part of Greece. It wasn’t until a 19th century British Archeologist, Sir Author Evans gave them the name, The Minoans. He gave them this name because he believed he had found the legendary palace of King Minos. There has been many civilization collapses over the World’s history, but most can be explained in great detail. There are some that are very mysterious and not definitively explained. The collapse of the Minoan people happens to be one of those mysterious collapses which ranks 3rd in the top ten most mysterious collapses of the world and is still to this day debated on what actually caused their demise. There are many factors that go into the collapse of a civilization, but this kind of catastrophe doesn’t just happen in a blink of an eye this is something that happens over a long period of time. This paper will touch on the climate and environment, the time period and culture, how they became

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The artifact functions as a music box and was a prominent instrument during the Sumerian age and was most commonly used during funerals. In addition, since the piece of work was found in a royal tomb, one can further assume that it played a role in ancient funeral rites or banquets13. The Epic of Gilgamesh, explained earlier, could have also played a role in the development of this piece since it was a large part of literature in the Sumerian age. Even though the poem was written down hundreds of years after this plaque was created, it could be evidence for the first documentation of a long oral tradition13. Although there is no known patron of the work, it was most likely intended to be played and seen by an audience and give respect to the dead. In contrast, the Lapith Fighting a Centaur was apart of the Parthenon and had been widely known for centuries; it wasn’t a recent discovery. The relief, along with the 96 others on the building, depicts a legendary war between two factions. Even though these were mythic tales, they played a large role in Ancient Greek lives. The reliefs were created to most-likely educate the people of Greece about their gods and to recreate their religious

A formal analysis, contextualizing, and compare and contrast of the Egyptian sculpture of Isis nurturing Horus and the Byzantine icon, The Virgin of Vladimir

The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.

The Minoan civilisation originated on the eastern Mediterranean island of Crete and was named by Sir Arthur Evans (1851-1941) after King Minos. The society saw the gradual development of a culture that was rich in artistic and technological achievement and whose influence reached far across the Mediterranean. The relationship between Thera and Minoan civilisation was shown through the similarities of their architecture, pottery, writings, frescoes, religion and

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).

The Torso of Aphrodite was constructed in the 1st century A.D. and is made entirely of marble. The torso used to belong to a life-sized version statue of The Greek goddess of love Aphrodite. From the moment I saw this piece, I knew I was attracted to it in a deeper way. It

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

The animal chosen is a Sacred Ibis (Threskiornis aethiopicus) depicted on this coffin, the titled is “Painted Wooden Coffin of the Sacred Ibis of Thoth” dated between 332–30 BC in the Ptolemaic era . On the coffin is a large painting of a sacred ibis. The Ibis is sitting down waiting for judgement, it has it beak on the feather of truth . There also is a man hold his arms in the air as if worshipping. In addition, there is the god Horus holding an anuk. Furthermore, a winged sun god on the coffin above the pictures .

A roof tile from Greece, this piece shows a gorgoneion—the face of a gorgon. It is made from terracotta, and has the accession number 10.210.44 from the Metropolitan Museum of Art. Its dimensions are H. 6 3/4 in., W. 9 5/8 in. The tile is shaped like a half-oval. The gorgon has a hairline made of 10 oval sections along the forehead. It has a wide mouth and is sticking out its tongue. It also has four large teeth, with stick up and down beyond the range of the gorgoneion’s lips. The gorgon has two oval-shaped ears, and a prominent nose, along with large, pupil-less eyes. The tile is mostly intact, except for a piece along the top of the oval and through part of the hairline which has broken away. It is circa 580-570 BCE, and is from Greece.