Memi And Sabu Essay

Many pieces in Mesopotamia represent the status of the kings as being a greater figure than the common people and even an alike or greater figure than the gods. One piece that depicts the high status of the ruler is the “Fragment of the victory stele of Eannatum”, from Girsu, Iraq. ca. 2600-2500 BCE. On the stele, is Eannatum, who is the ruler who leads the battle, and obtained the city of Umma. He is depicted larger than the army, except Ningirsu, who chose him as the ruler. The audience of the stele is the people of Sumer, but more importantly, his enemies. The second piece that depicts propaganda in Mesopotamia is the “Head of the Akkadian ruler”, from Nineveh, Iraq, ca. 2250-2200 BCE. The hollow-cast sculpture made with Cooper is believed to be an Akkadian king. The sculpture demonstrates propaganda in Mesopotamian art because it reflects the idea of absolute monarchy, and focuses on the kings, instead of the city-state. However, the head was vandalized as its eyes were gouged, and its beard and nose were slashed by the Medes because they were opposers of the absolute monarchy. In addition, another example of propaganda in Mesopotamia is the “Votive disk of Enheduanna”, from Ur, Iraq, ca. 2300-2275, in which the Alabaster disks represents the daughter of King Sargon, Enheduanna in which the cuneiform inscriptions which mentions that she is the daughter of Sargon, who is the king of the world. Moreover, the disk also mentions that she is the

Sensory loss can frequently lead to isolation and frustration at not being able to communicate efficiently with other people. With hearing loss, day-to-day activities such as hearing a doorbell, using the telephone, watching television or taking part in conversations can produce feelings of inadequacy within the individual. Not being able to distinguish faces, read the time on a clock or drive can produce the same feelings in a person who has vision loss. Hearing loss interferes with face-to-face communication and can often cause older people to lose

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.

As my chosen work of art is the The Mihrab, it was a remarkable experience to visit the The Metropolitan Museum of Art. After a two hour long commute, which includes two train switch and one wrong train, my friend and I were finally able to locate this museum. As lavish as it is on the outside, it also does not disappoints on the inside. The Metropolitan Museum left me spellbinding with its aura of artistic treasures from multiple eras. However, my favorite work of art belongs to the Islamic art period, the Mihrab. The Mihrab is a semicircular niche in the wall of a mosque that indicates the qibla—that is, the direction of the Kaaba in Mecca—and it contains typical patterns and calligraphy from the Islamic art period.

The video game that popularized video games, Super Mario Bros. The man that designed that game back in 1985 was Shigeru Miyamoto. A living legend in the world of video games. He created a number of Nintendo biggest franchises. Super Mario Bros., Donkey Kong, Star Fox, and The Legend of Zelda are just a few of the games he has helped to create.

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

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in , with her age and health. The figure is dressed in cloth that hangs off her shoulders. She carries a basket that is filled with what we may think are offerings. Then on her head, there are vines that create a band around the top of her head maybe 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 this period, artist begin to introduce more inner beauty than physical beauty. We get to learn more about the structure itself, then settle for what is given and seen.

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.

In this time period the man is usually depicted striding forward. The Dimensions of the sculpture are 62x 24.5x 15.2cm and it was sculpted from limestone and paint (Metropolitan Museum of Art a, 2016). The Statue of Gudea depicts a seated man sitting in front of his subjects with his hands folded in prayer. There is writing on his robe which indicates all of the different temples that he has constructed and fixed in the Lagash area of ancient Iraq. The dimensions of the sculpture are 44 x 21.5 x 29.5cm. (Metropolitan Museum of Art b, 2016). The statue is made from the Diorite which is a type of course rock (Geology,

Both Etruscan and Roman tomb sculpture function to memorialize the departed allowing them to move on from the world of the living and seeks to comfort those who have lost the ones they love. The two societies have differing practices in regards to death and therefore sculptures concerning the subject are somewhat different with a few identifiable similarities. While both societies seek to comfort the living and commemorate the dead this is achieved through different approaches. The Etruscan Sarcophagus with reclining couple from Cerveteri, Italy and the Mummy of Artemidorus from Roman Egypt are two examples of contrasting representations of the dead. When analyzing tomb sculpture one of the main questions is whether the work adapts a retrospective approach (presentation of the deceased as they were in life) or a prospective one (the viewpoint of looking forward to life beyond the grave). While the Etruscan sarcophagus gives a more retrospective memorialization through the depiction of the couple in a state of regularity the Roman Mummy of Artemidorus presents a more prospective approach concerning the deceased through the emphasis of funerary practices.

art was that it, and many statues like it, were to be placed in the temples that Gudea worked to

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.

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

During early dynasty Egypt period, Egypt’s kings were reverted as gods in human form. So, Egyptian sculptor created statues of their kings and queens. After creating the statue