Hu And Jue

he Harvester’s Vase, a fascinating 3500 year old stone sculpture from the Aegean Bronze Age was a product of cultural interactions between the Minoans and the outside world. The vase is “unprecedented” in ancient art history due in part to the animated facial features and accurate human anatomy, thanks to the Minoans long history in making art and their mercantile economy. While Mycenaeans and Hellenic Greeks are more well-known and studied, Minoans played a huge in part in laying the foundations of Western art. Discovered in ruins of the Hagia Triada on the island of Crete. The Harvester’s vase was created around 1500 to 1450 BC, the vase is unique in that it is one of the few well preserved artifacts of the Minoan Kamares where they have

In the kingdom of Benin, making castes with bronze was introduced to the rest of the world. “Now this kind of work is done with clay, and wax, and red metal (copper), and soldier (zinc) and lead, and fire…Next it is set aside to cool, then (the outside covering of clay) is broken off,” (Document 7). The art of creating bronze castes was very popular in Benin and the popularity soon spread to most of Northern Africa.

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

with painted large ceramic pots from the Neolithic period. This exhibit will take you on a

This is a clay gourd that taken the shaped like a jug and have cinnamon color appearance and stand at 13 ¾ x 8 inches. This pottery were part of the Tonaltec pieces that have been a high recognition for a long time for the traveler and historians in the seventeenth century. The Tonaltec pottery is generally known in Mexico as “Guadalajara earthenware” which taken after a major city name nearest were it make. The Tonaltec pottery are make distinction between earthenware of water and earthenware of fire based on the differences in function and decoration the artist tried to make. The Tonaltec pottery is make of the burnished or greased clay and was fire once then is bathed in glaze and leave to be fire twice before it finish. The purpose of this

The Mingqi (standing dog) is earthenware, terracotta, or a fired clay that is porous. This type of ceramic results in an earth tone of orange and brown and the lower half of the artwork shows the original hue of the terracotta. Revealed because of deterioration, the vibrant orange creates a contrast of color to the dull green of the glaze. Terracotta can be without glaze but this Han artist finalized the work in glaze and covered the original coloration with a more impacting

more mobile piece as evidenced by the placement of handles which would make this vessel

Limestone and dates back to the fourth dynasty of Egypt, roughly 2575-2465 B.C. (Statue of…,

The efforts of ensuring high-quality earthenware and provisions were guaranteed to enhanced immortality living in their afterlife. For one of my objects in this research is a Covered Storage Jar, Hu, China Western Han dynasty. This covered jar originated in Asia, China and stands, 56.2 x 36.83 x 33.66 cm with small handles. The traces of pigment are faint and worn with swirl patterns. This jar is functional, and expressed with small patterned swirls consisted shapes emphasizing strong movement of colors. The materials and techniques with the Hu determine the dynasty’s age, for example, “Lead glazes in shades of green and brown became popular in the Han dynasty as a means of rendering the earthenware” (Swergold, Ive Covaci, Jill Deupi (2012). It was common to decorate or partake in providing expensive materials. Similar in other cultures such as the early Egyptians: all the necessities an individual’s life would be essential for the

This pot was the most common style of drinking cup known as a Kylix, a shallow two-handled bowl which was usually painted by vase painters , in this case, the famous painter named Exekias in C. 530 BC (Raddato, 2013). Again, the fact that the kylix is a drinking cup is relevant in association to Dionysus, the wine god.

Most Pateras have either a naked or clothed figures, or just a figure less handle. This artifact depicts a naked Kouros which in Greek means young man. Kouroi who are often naked are symbolized as gods, warriors, and athletes. (Cothren, Michael W & Stokstad Marilyn p.107.). Thus this choice of handle was especially suited to such a sacred object. (Vassilika, Eleni 19). The figure of a nude Kouros depicted in the pan is around five inches tall. While his legs are together with his feet pointed downwards. The figure has both of his hands in the air flexed holding two rams. On either side of him there is ram kneeling on all fours. The rams hold up the shallow pan with their heads. The rams look like they could be babies because of how small their bodies are. The inclusion of rams in Archaic period art was very common (Sturgeon, Mary.C 46). The Kouros body appears naturalistic, reason being is because he does not have much muscle definition except for a little in his thighs, pecs, back, and arms for when he is raising the rams. The artist stayed true to the youth aspect by doing this. Not many young men have giant muscles and six packs, which is why the artist kept the figures body thin. The artist close attention to the outline of the nipples, navel, feet, buttocks and the details of the Kouros genitals really brings the figure to life. The Kouros hair is stylized with vertical lines

These clay statuettes were from the Tang Dynasty era and compromised at once a comedile humane of the cultured life of the Tang period. A diversified and endlessly appealing exhibition of sculptures, which was a result of an artistic impulse carried over into religious and spiritual reverences or reverie. This sculpture is an expansion of a lighter mood of love, grace, and of playfulness. The statuettes were usually fully colored. They were also commonly glazed, although the glaze may have been left off at certain points of the clay, where directly applied pigment gave better detail and effects to the sculpture. Because these statues are glazed most of them are removed from the history of sculpture and placed with the books on pottery. Many of the statues, however, are starting to end up in different museums across the world for the people to view and admire the artwork of the ancient Chinese civilizations

The purpose of this essay is to compare and contrast two sculptures. The Statue of Memi and Sabu, dated back to ca. 2575–2465 B.C., Egyptian; and the Seated Statue of Gudea dated back to 2150–2100 B.C., Neo–Sumerian period.

The Chavin were known for influencing their art across other groups. They were well experienced at crafting. This object has an animal on it, which was commonly crafted in the Chavin Empire. Most likely they created this to be place in a temple. The reason behind it because surviving temples were found with motifs or decorative designs much like this one

Bronze casting differed from city to city, century to century; however, they all followed some of the basic steps to sculpting ("Bronze Sculpture”). First an artist would have to model the sculpture by using a range