Laocoön And His Son Analysis

The piece I decided to analyze is the famous sculpture, Laocoön and his two sons. I decided on this particular piece for a few reasons, one being the emotion we see on the subjects’ faces, and the other being the importance for future art. When I began this research I could not have possibly understood the relevance this piece had on the art that was yet to come.

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

The detail increases the power the snake exudes in the perspective of the man. “Children, dogs, and horses…who weren’t as strong” compared to the snake, created panic and fear, because of its “six powerful fangs” and “little

It is important to first begin with the basics of each piece of artwork. The graywacke statue of Menkaure and a Queen was made between c. 2490-2472 BCE during the Old Kingdom period in Giza, Egypt. Although the artist is unknown, it is understood that the time during which this artwork was made was during the Old Kingdom period, which lasted from c. 2575-2150 BCE. This statue is smaller in height than the average human being, being 51 ½ inches tall, which is a little over four and a quarter feet tall (Stokstad and Cothren: 60). The stone that it is made from is a rocky, rough stone, that took a considerable amount of sanding to get the statue to look as smooth as it is. The second set of statues I will be comparing and contrasting to the Menkaure and Queen are the limestone statues, Anavysos Kouros and the Peplos Kore. Both were made in c. 530 BCE during the Archaic period in Athens, Greece. Similar to Menkaure and a Queen, the Anavysos Kouros and the Peplos Kore do not have a known artist, however it is known that the time period in which the statues were made was during the Archaic Period, which lasted from c. 600-480 BCE. These statues are more life-like in size. The Kouros statue is around the size of a tall male, six feet four inches tall. On the other hand, the Kore statue is smaller in stature, about four foot tall . Both statues were made from carved marble, although some of the other kouros and kore statues that were made were from terra cotta, wood, or limestone

Fig. 1 Statue of Yuny and Renenutet, ca. 1290–1270 BCE.; Fig. 2 Akhenaten and his Family,18

The Minoans were recognized for their symbolism relating nature and their culture. This was evident during the Prehistoric Aegean, where Minoan art was immense with motifs of nature present in their art. Some examples range from the snake goddess, the bull, the horns of consecration, and other animal associations of the like. The rhyta present in Minoan art were used in religious rituals consisting of liquid offerings being poured and were widely prominent with the elite and at the palace at Knossos. The “Terracotta vase in the form of a bull's head”, demonstrates the importance of the bull in relation to their culture and religious rituals that took place during the Late Minoan II period on Crete.

The marble statue of Diadoumenos is a copy of the original bronze statue displaying a young man tying a fillet around his head. The original was created in c.a. 430 B.C. by a man called Polykleitos of Argos. Polykleitos was a Greek sculptor who worked during the mid-fifth century B.C. . he was one of the most famous artists of the ancient world. Polykleitos' figures are carefully designed with special attention to bodily proportions and stance. The statue of Diadoumenos has its thorax and pelvis tilt in opposite directions, setting up rythmic contrasts in the torso that create an impression of organic vitality. The position of the feet, (poised between walking and standing), give a sense of potential movement.

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

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.

Tao Te Ching of Lao-Tzu is a book with many chapters in it showing the two different sides to basically everything. To break it down, Tao means “path” or “way”, Te means “to get”, and Ching means “great book”. So the Tao was the force that controlled the universe and appreciated the way, to find balance between opposites. The book, Tao Te Ching has been said to been written by a Laozi—an old master—and has been said that the true author (or authors’) name has been lost. In the chapters between the book it tells how to live a life of integrity and of greatness per say. It also has contradictions or paradoxes which allows us to see the both perspectives of each side. It shows us that there are always two sides to everything. Tao Te Ching

In “The Daodejing,” Laozi, similar to many prominent Chinese philosophers before and after his time, discusses his unique perspective of the “Way.” There is much controversy, however, regarding whether Laozi was the actual author of this text or was even a real person, and “his” work is thought to have been a composite. (For the purpose of clarity, throughout this paper, the author(s) of “The Daodejing” will be mentioned as Laozi.) Laozi’s vision of the “Way” is exceptionally challenging to define using words because of its metaphysical nature. Although this term is somewhat difficult to envision, it is what mankind should aspire and take action to be aligned with. According to Laozi, in “readings in Classical Chinese Philosophy,” the “Way” (or dao) is the “source, sustenance, and ideal state of all things in the world” (Laozi 158). It can be best thought of as the underlying guiding force of all events that occur in the universe, and mankind is closer to the “Way” when they realize that all things are interconnected and have an effect on one another. As might be expected, this vague definition isn’t a foolproof depiction of the eighty-one chapters in the “Daodejing,” but one is able to grasp a basic understanding of Laozi’s ineffable doctrine. Although numerous chapters are meaningful and could provide substantial analysis, this paper will focus in on Chapter Twelve. Ultimately, this chapter adequately and efficaciously compresses the teachings of “The Daodejing” into

He was a philosopher attributed with the writing of the Tao-Te-Ching and the reputed founder of Taoism. ("Tao" meaning the way of all life, "Te" meaning the fit use of life by all men, and "Ching" meaning text.) Lao Tzu was not his real name but rather an honorary title given to him by his followers meaning "Old Master".

This essay is an attempt to address the marble sculpture commonly known as Laocoon and His Sons, and why exactly I believe it to be a work of high art, of great value and significance to the species.

Family loyalty in China has had a tumultuous past filled with fluctuation between remaining loyal to the state, yet also remaining loyal to blood relatives. In the autobiography that also serves as a biography, Wild Swans, by Jung Chang, this is seen. The book, which outlines the biographies of the author’s grandmother and mother, as well as her own autobiography, gives an interesting look into the lives of the Chinese throughout the 20th century. This book is beyond eye opening, and is truly a raw glimpse into the daily lives of women throughout China, struggling with situations that no human should ever be thrown into. I loved this book and was truly scared about the world that it opened me up to. The book does many things well, but also has its faults. The author consistently and clearly exemplifies the social hierarchy that consumes China, as well as its obsession with cultural stagnancy. The author also gives intense imagery that thrusts the reader into the scene, and creates a new reality showcasing the truths of China. Although both of those things take main stage in the book, there are a few weaknesses in the book. One, asking the question of how she had such clear anecdotes on her grandmother and mother’s life, how did she have such intimate details? The second shortcoming that Jung Chang had a subjective view of China, partly being that she loves China despite the cards it has dealt her. Her life was not short of hardships, but her family was typically

Both the sculpture and the text depict Laocoön’s movements at magnifying detail in their respective medium. For instance, the sculpture depicts Laocoön with a dynamic pose. The priest’s limbs spread out in agony, filling up a viewer’s the visual space, leaving a lasting impact. The creases of Laocoön’s muscles achieve in depicting the strain and tension the priest is exerting on his limbs and torso, showing the tremendous effort the preist puts in to break free of the serpents. Simultaneously, Laocoön’s toes grip onto the floor, trying to regain his stance. By filling up