Isis Nursing Horus Essay

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

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 art depicts to me the Indian life cycle and religious perspective when she poses in different forms which she depicts with her hands and feet (Shiva). According to MFAH bulletin board, it explains the nonverbal poses that “Shiva Nataraja” makes such the little man underneath her feet is “Apasmara” resembles the human race “ignorance, forgetfulness, and recklessness”, and one of her hands depicts holding a “…drum…beat of this drum signifies the sound of creation” and her large third eye resembles the looks between “truth” and “illusion” (Shiva). Also, it amazes me the vivid image the artist presented from this bronze statue of “Shiva Nataraja” which depicts in a live and dynamic form.

The first thing you notice about sculpture is the texture of it, it feels smooth, like its made of a clay yet it has a lot of depth and value, the skull itself isn’t proportional since it is tilted to

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

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 Bust of Queen Nefertiti, which was created in 1340 BC by an unknown artist, is perhaps the most famous depiction of the Queen during her reign. The bust, being held at the Egyptian Museum in Berlin, shows an important connection between the artist and the queen herself

I find this piece to be very mysterious. Why does the head become narrow at the top? The face seems to be of an older woman, as shown by the wrinkles indented within the sides of the nose and the mouth, although they are not as prevalent as the one of NYC. There’s a soft jaw line of a woman. What is interesting to me is the indented/concave region of the eyes. Instead of forming an extruding eye with a pupil, the sculptor chose to extract the material to form the eye, unlike the piece we saw of Abu, with eyes stamped with bitumen tar. The lips are very well sculpted, and textured well. It seems like it would mean a lot to a Pharaoh who has lost his mother, or who hopes to forever remember his family. To see the portrait of his family along with himself would’ve made him feel happy and in the presence of his family. I feel this way much of the time when seeing photos of lost family members with me beside them within the photos. It’s like an everlasting memory of that person and being with them in the memory.

The subject of the artwork is Nefertiti, who was the wife of Akhenaten. In addition to being a wife, Nefertiti was also a queen of Egypt. Nefertiti is posed in a very graceful stance. She looks very calm and put together. Due to the curvature of the very elongated neck, the Bust of Nefertiti is poised into a relaxed pose, while maintaining her eternal beauty at the same time. These features are also noticeable when moving the focus towards the eyes, which are slightly closed enough to see her eyelids in addition to her actual eyes. Her eyes are composed into a very natural state; they aren’t widened as if they are portraying a specific facial expression. Her entire face has a peaceful and very naturalistic look. Although often times portraits in Egypt were made to be exaggerated and never depicted what the person actually looked like, this piece

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.

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