Memi And Sabu Comparison

First, The statue of Memi and Sabu is made of limestone and paint, which is a very pale color. Then it can be seen that this piece consists of a couple standing side by side; the male on the left (Memi) has his arm wrapped around the shoulder of the female (Sabu) on the right, who holds a more oblique gaze (The Metropolitan Museum of Art, 2017). Second, Statue of Gudea, unlike the other work which is an individual work of art, belongs to a series of diorite statues that were commissioned by Gudea (The Metropolitan Museum of Art, 2017). This statue made of diorite contrasts with the previous work with its very dark color. Furthermore, unlike the couple in the previous work, this sculpture shows an individual man sitting down by himself with his hands clasped together, which shows a sense of

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 statue of King Sahure and a Nome god is an interesting piece of Ancient Egyptian art ( c. 2500 BC ) that shows signs of Ancient Egyptian culture and beliefs. The statue is a small relief sculpture, meaning the sculptural elements are attached to the solid background of the sculpture and appears to be emerging from the material. The piece clearly depicts two figures side by side, one standing on the left and one sitting on the right (facing foreward). The purpose of this piece was probably to depict a certain symbolic interaction between the two characters.

The Eagle-headed Apkallu Guardian Figure is a low relief sculpture from 883-859 B.C. Assyria. Made from gypsum, this sculpture measures approximately 42 1/8 inches tall, 26 inches wide and 1 ½ inches thick. The sculpture is mounted on the wall of the dark, navy-blue painted Antiquities section of the Museum of Fine Arts Houston, dimly lit by the luminance of showcase lights. The guardian figure watches over the room as visitors pass through the archway between two exhibits of the Museum of Fine Arts Houston. In The Eagle-headed Apkallu Guardian Figure, the artist uses compositional choices, stylistic

The Colossal Statue of King Tuthankhamun and the Lamassu are amazing works of art. Of the eight works assigned, these two particularly caught my eye. The two pieces, though very different, have many similarities. In this paper, I will discuss these similarities and differences of style in terms of their overall shape, proportions, and individual parts.

First of all, the sculpture will fill our lives with the beauty of art as citizens. For example, “the History of Public Art” article gives a background on ancient greek statues and temples, and it states that the “structures helped unite the citizens of the communities of which they stood by providing a concrete focus for national identity and pride” (The History of Public Art). For

My second piece I want to tell you about is the Sphinx of Amenhotep III. This piece was made sometime between 2000-1000 B.C. The artist from this piece is unknown but it is believed that the Sphinx of Amenhotep III is a model of a temple. It is only about 9 7/8 inches in length, 5 1/4 inches in width and 5 1/4 inches tall. Amenhotep III had many statues completed of him and during that age Amenhotep built many temples and other chapels. By the looks of it, it just looks like a giant doorstopper. But this artifact has great symbolism. The sphinx puts two things together and offers them to the gods, and that would be protective power of the lion with the royal function. It’s a lion’s body but transforms to human arms and hands. It has about

This art history analysis will define the themes of wealth and power in an examination of “Khafre Enthroned” (2500 B.C.). This statute defines a high level of artistic skill that reflects the wealth of Pharaoh Khafre in the Old Kingdom. During this era in Egyptian history, Khafre wielded extraordinary wealth to create a statue in the rarified diorite stone used to make this high quality statute. This unique statuary provided a symbol of the power and prestige of Pharaoh Khafre’s leadership at the height of the Old Kingdom. The political and religion-based themes of wealth and power will also be examined in this study of “Khafre Enthroned”, which provide a historical basis for an examination of the statue. Pharaoh Khafre commissioned this statue as a reflection of his political power and great wealth as a symbol of his status in the Afterlife. In essence, an artistic analysis of the themes of wealth and power will define the historical uniqueness of “Khafre Enthroned” (2500 B.C.) in Egyptian Old Kingdom statuary.

The Royal Acquaintances Memi and Sabu was sculpted between the years of 2575–2465 B.C. in the region of Giza, Egypt (Metropolitan Museum of Art a, 2016). The Statue of Gudea was sculpted around the year 2090 B.C. in Girsu (now known as Lagash in Northern Iraq (United States department of Defence, n.d.).

Of all the Ancient Egyptian art created to display power, none can compare to statues of Sakhmet, she who is powerful. The power that Sakhmet is named for and expresses in her ferocious attacks and protection is embodied in the diorite statue of her head in the Carlos Museum that commands the attention of all individuals who pass by. Sakhmet’s lioness head affixed with a mane or radial halo headdress protrudes from the background in an authoritative fashion that asserts her dominance as a warrior and protector. In this statue of Sakhmet commissioned by Amenhotep III, the artist’s intermixing of the naturalistic features of the female body and the head of a lioness are accentuated with geometric forms and lines that heighten Sakhmet’s power while bringing about an overall feeling of peacefulness that makes viewers feel as if they are under her protection. Similar to other Ancient Egyptian statues, Sakhmet’s form is encased in the diorite that she was carved from.

The Assyrians were an unquestionably dominant empire in the Mesopotamian region during 934-609 BC. Responsible for the breathtaking sculptures known as Lamassu, Assyrian sculptors drew my interest, most notably because of the attention to detail and history behind their composition. All together, Assyrian art is very masterful, however, this piece in particular stands out from the others, and the fact that I had never seen or heard of it before left me in disbelief. A large portion of the world is familiar with the Great Sphinx of Giza, yet I have taken it upon myself to shed light on a lesser known human headed creature who in my opinion is exceedingly impressive despite it being significantly smaller. The point of view(s) in which the Lamassu

During the 5th and 6th centuries B.C there had been an improvement in sculpting and art this was the Classical era. This revolution showed amazing results, the sculptures were no longer stiff and rigid like the Egyptian models(appendix 1) they had scaled and perfectly measured shapes. The Greeks successfully created and used the golden ratio and vital or useful tool used in sculpting. Ancient Greeks had used these geometrical equations to create the perfect statues.

The two sculptures presented for this assignment are the Statue of Gudea, which dates back to 2090 B.C. (“Statue of Gudea,” 2000) and The Royal Acquaintances Memi and Sabu, which dates back to 2575–2465 B.C. (“The Royal Acquaintances Memi and Sabu,” 2000). Both statues represent people; however, they depict different types of people from completely different time periods and cultural backgrounds. The Statue of Gudea shows the ruler of southern Mesopotamian, Gudea, whose reign was from 2144-2124 B.C. (“The votive statue of Gudea: A formal analysis,” 2011) sitting in a praying position with his hands locked and his eyes forward. He is dressed in what appears to be a lavish robe with an inscription that clearly depicts what Gudea thought of himself and his successes during his time as ruler. The Royal Acquaintances Memi and Sabu represent what is thought to be a married ancient Egyptian couple who are lovingly embracing each other. Aside from looking at

Hieroglyphic drawings of the Ankh, the Eye of Horus, the Ntr which mean eternal life, monarch power and divinity respectively all confirm that (Silverman, 2003). The drawings, three-dimensional sculpture, expressions and register were created using a variety of materials such as wood, metals and stones sources from different regions and a study now shows as far as Afghanistan in the case of blue stones (Navran, 2008). The ornament can be said to stop from where the depiction of the royals and deities begins. A close analysis of the royals and the deities show them in different positions such as a kneeling position, standing on a throne, two royals embracing or a deity seated as in the case of hieroglyphic symbol of ‘god seated. These depictions are used for rituals and the royals and deities in the form of sculptures and expressions are created in such a way that allows those rituals or messages/texts being communicated to be done effectively. Hence, even though the colors used in the decorations are symbolic they are a creative element in the same way that the use of wood, metals and stones are when used to create the art. Hence, there is a creative aspect as well as religious aspect in ancient Egyptian decorative

Just from looking at a few pieces of the art of the ancient Egyptians, you begin to notice many defining characteristics about it that make it unique and different from other styles of art. There are an ample amount of recurring features in the art, so this must mean that these traits and aspects are noteworthy. This next section of the essay will go into detail about a few of the many types of art and the stylistic elements that define ancient Egyptian art and make it special and distinguishable from other types of art, and why some particular aspects of the art are important.