Lekythos Essays

Similarly to other Egyptian funerary rituals, the case of Paankhenamun was also buried inside of a “sarcophagus” case, a huge stone case for the coffin, and then inside of a decorated tomb, which most likely contained his most valuable personal belongings and religious symbols. The decorations often consisted of images

Throughout the history of art, the human body and figure has captivated both artisans and their audiences. This can be said especially of the Greeks and their sculptures. Even from the earliest periods, Greeks motivation for the search of the ideal human body can be seen through the sculpture Metropolitan Kouros (c 120-50 BCE), created in the Archaic period and said to be found in Attica, Ancient Greece (Richter 1931, p. 220). However, it is not until High Classical period that they truly achieve their goal with Polykleitos’ The Spear Bearer (c. 120-50 BCE) or the Doryphoros (its Greek name). The sculpture, found in a Palestra in Pompeii, Italy is said to be the epitome of perfection during its period. Although there is exquisite rendering and beauty in both sculptures, there are also a vast number of differences that make each work unique.

The ancient Greeks loved music so much that they put scenes of music on their pottery. One piece of pottery is a water jug. This piece of pottery has a rounded top with a rigged edge. The neck of the pot is short and comes down into a kind of vase. On the vase, there is a person playing a flute. Another person is holding a lyre, which is a wooden stringed instrument. It looks like a music teacher is teaching a student to play an instrument. The handles on the pot are curved outwards like ears. There are spiral-like designs that go around the neck and center of the pot. The pot is entirely black aside from the pictures around the pot. The pictures stand out because they are in gold. This jug was probably used to collect water for special events. Another piece of pottery is used for storage. This jar has very little inward curved handles on each side of the neck. Around the neck of the jar, it looks like a string of olive leaves. From the neck,

This rhyton was used during the Late Minoan II period during the Prehistoric Aegean Bronze Age for religious rituals and libation purposes, in which the hollow vase was filled with liquid offerings. It is a depiction of a bull’s head, which represents the connection that the Minoans made with their natural surroundings. The maximum dimensions of the vase are 9.5 by 13.9 centimeters. The material the vessel consists of terracotta as

Greek art took many ideas from Egypt and Mesopotamia however as the years passed they started to develop and create their own unique style. This style was more realistic and natural visually. One of their goals was for the viewer to believe they are seeing a moment standing still in time. You can see this when you compare Kroisos from, Anavysos Greece, and Doryphorus from Pompeii, Italy. These pieces are roughly dated 80 years apart however the difference between the two-forms are so remarkable. This paper will be discussing and addressing the evolution of a more naturalistic art form, from the statue of Kroisos compared to the statue of Doryphorus during the Greek art period. At a first glance of the statues you may not see the dramatic differences between the two however they were both approached in different ways to be created. They have different meanings yet both were created to be more naturalistic than what came before it.

The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare

For this writing assignment, I was given the Attic Black-figure Lekythos. The vase told the story of Herakles and the boar. The Lekythos is a cylindrical vase. The base color of the vase is orange. The ink used turned black from when it was heated. The vase still contains most of the story; however, a lot of the vase is faded.

The art work that I have chosen for this formal analysis of an art work is the Painter of Paestum’s piece titled “Red-figure lebes gamikos (marriage vessel) it was made with terracotta red clay. This piece was made between 340-330 B.C. It is approximately 10 inches in height. The present location of this art piece is at The San Antonio Museum of Art in the Greek Late Classical section. The collection is a permanent collection from Gilbert M. and Denman, Jr. whose funds were used to purchase the vessel.” (“San Antonio Museum of Art Wall Text”). These marriage vessels are frequently shown in marriage scenes on Greek vases. This marriage vessel could have been given as a wedding gift or used to contain water for the bride’s bath before the wedding ceremony. Also, it could have been placed by the bride’s door and was possibly used in a ritual of sprinkling the bride with water before the wedding ceremony.

Funeral ceremonies were extremely elaborate, especially for upper class citizens. Funerals had five parts in Ancient Rome; the procession, the cremation and burial, the eulogy, the feast, and the commemoration. Ceremonies began closely after death, as soon as all necessary preparations were made. At the home, the deceased’s body would be washed with warm water and then anointed. If the deceased person had held office, a wax impression of his features would be taken. Next, the body would be dressed in in a toga with all the regalia of the rank he was allowed to wear. Incense would be burned and pine woul dbe places outside the door to signify death in the house. In early and late times, when burial was more popular than cremation, a coing would be placed in between the teeth of the deceased, as payment for Charon, the ferryman of the underworld. These rites were simplified in poorer funerals, as well as done by a family member. However, for the rich, an undertaker, or designator, would do so().

Once prepared, the body would be moved to the atrium of the house and placed on a funeral couch or a lectus funebris, and surrounded by incense and flowers for mourners to visit and pay their

The Greeks would either cremate or bury the body based on what the person wanted. After they cremate or bury the person other Greeks would go to the site, sacrifice things, and leave trinkets. They did this to help the spirit with their journey to the Underworld. This goes back to what I said earlier about how what the Greeks did at funerals had everything to do with what they thought the gods would

Polykleitos stood as a renowned Greek sculptor who functioned in the field of bronze; he was as well an art philosopher who established a canon of ratio that is validated in his sculpture of Doryphoros. Numerous of Polykleitos' bronze figurines from the Classical era, as well as the Doryphoros, live on only as Roman replicas implemented in marble. Polykleitos, in the company of Phidias, is rumored to have generated the elegance standard in Classical Greek figurine. Additional sample of Polykleitos' canon at functioning is comprehended in his figurine of Diadumenos, an early stages attempting on a circlet, as well as his sculpture Discophoros, a round bearer. In cooperation Roman marble replicas represent muscular, nude male features. The frames

First and foremost, we need to understand the meaning of burial and funeral. To ancient Greek, the soil symbolizes a connection between the people and the land, as well as the continuity between the living family, the gods associated with the land, and the great-grandparents whose bodily remains were housed by the land. Human beings

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The Greeks often buried dead people, and marked graves with carved gravestones. Large pots were also used to mark graves. The deceased were usually buried in graveyards outside the city walls. When the procession reached the burial place, the body could be buried, or it could be burnt, and the ashes were buried. The dead person was often buried with some of their belongings.