Reclining Pan in the St. Louis Art Museum

Then there is a sculpture called ‘Kouros/statue of Standing Youth’ which represents the meant back in the day and age. The sculpture is a very young, athletic, toned man. This man has the body every man wants. This sculpture is desirable to every women. This man represents power, and desire. Unlike the sculpture of the woman this man has a face and a very powerful looking

Hung Liu's paintings are of photographs. She paints from them because she wants to set free the messages that are locked inside the photograph. In Liu's painting Virgin/Vessel the woman's feet are disfigured because of foot binding. Chinese women did this in attempt to raise their status. They were unable to walk and forced into prostitution. The women became a sexual vessel and there was one in front of the girl in the painting. This shows the isolation and vulnerability. In Liu's Three Fujins, The women are shown with birdcages in front of them with represents the women's spiritual captivity. Their pose is uniform and shows that they have given in to the forces of the rulers in their time period. They did this in order to fit into the roles

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.

What makes the sculpture different from others of this time period are two things; the subject matter, in that it depicts no god, nor Pharaoh only a mortal human writing in a mostly illiterate society. Secondly it demonstrates age shown in sagging muscles and rotund belly. Due to this relaxed style we can gather that the subject is not a Pharaoh as it was dishonourable to insinuate that they aged as they were supposed to be gods on earth.

story is that according to a Chinese myth there were two brothers and one was very

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

The Statue of Asklepios is a classic Greek sculpture that portrays a person of the most perfect and athletic form. The piece is of a man standing beautifully while draped in a toga. The toga is draped over his left shoulder and cuts across to the right side of his body near his lower abdomen and then continues to cover his legs until his ankle. The toga also is draped over the pieces entire back. The piece is missing his head, his left arm and both his right foot and almost its entire right arm. The piece has a smooth, but not glossy, exterior in all of the areas except for the parts that have been broken off. Asklepios is portrayed as an incredible fit and beautiful being. The abdomen is extremely muscular and shows off the miraculous fitness of the model. The toga has many wrinkles, creating a lot of shadow and darks and lights. It also is wrapped in a way that is both loose and tight in different areas of the sculpture. It is tied right next to the left pectoral and the left armpit. This piece emphasizes the muscular body of this man while at the same time portraying him standing in such a nonchalant way through the curvature and relaxed look of the figure. And unlike the Torso of a God, this piece clearly shows movement through the shape of the body and the folds of the toga because

The artist who created the piece titled Plate With Quetzalcóatl Deity was either male or female, we don’t know exactly, but we do know that the plate was made around 1200-1400 and they were from the Mixtec culture that included the regions of Oaxaca, Guerrero, and Ouebla, Mexico.1 Furthermore knowing the artists’ culture we have a better understanding of the significance of the representation of the Quetzalcóatl (feathered serpent) on this three-dimensional plate. Onward, the plate itself seems to be 10 inches wide and symmetrical. Also, the feathered god covers the whole diameter of the plate. Even though it’s called a plate, we can speculate that this wasn’t a traditional plate for food, but rather than a plate to show sacredness of the mighty god. To illustrate this sacredness, the artist’s palate of colors that they chose is red, brown and white.

Here the idealized face of a full-blown Tang beauty from Tianlongshan, with a small, slightly opened mouth, is so expressive that it seems as though he is about to speak. The shape of the head is rounder and the carving for facial features is softer with time going by, so the bodhisattva is more and more nearly human looking.

This piece of art depicted the interaction between Dionysus and Pan in a form of sculpture. The sculpture was created from beautiful marble in A.D. 50 – 150. The work is three

The Frieze is made to represent the Panathenic Festival ritual. What is that? It measuresranges from 40 inches high to 525 feet long. The Frieze contains 380 figures and 220 animals. Almost 90% of the Frieze can be reconstructed. Describe the sculpture.

The group of objects chosen for this paper comes from the collection of the Saint Louis Art Museum. The title of both pieces is called Seated Bodhisattva Avalokitesvara (Guanyin). Both these pieces which are statues were sculpted in china. The earliest statue was made during the Tang dynasty. While, the later statue was made during the Northern Song dynasty. These statues were chosen because the same deity is depicted and were made in a similar geographic and cultural location. This allows for the comparison of the different styles between the 2 periods. The statue made during the Northern Song dynasty depicts the Bodhisattva Avalokitesvara sitting in a pose called the relaxed pose or easy pose. This statue also depicts the Bodhisattva adorned in lavish silk garments while a jeweled crown sits atop his head. The statue is carved from wood and painted with gesso, pigments, and gilding. The statue made during the Tang Dynasty depicts the Bodhisattva sitting in the easy pose as well. It also depicts the Bodhisattva in flowing robes while wearing a string of jewels.

The piece is a red-figured, wine bowl that is attributed to the Niobid Painter. It was made in Athens, Greece around 460-450 BC, and found in Altamura. Puglia, Italy (British Museum). There are two scenes on top of one another that occur in the piece. The top scene is the creation of Pandora. She is standing rigid while five of the gods are standing around her. Athena is about to put a wreath on her head. The scene below displays a frieze of dancing and playing satyrs. Because the vase is round it isn’t possible to see all the figures in the piece. But looking at the piece from the front, six gods are portrayed in the top scene. The gods in the scene from left to right are: Zeus, Poseidon, Athena, Pandora, Ares, and Hermes. The gods in the piece are identifiable because of distinguishable traits that certain characters

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

This statue is alone, but this also contains the meaning in the pose, seating with folding arms, which means traditional gesture of greeting and prayer. Additionally, its symbol of Gudea, the ancient King and it owns the history in this area. He lived as the local king in the southern Mesopotamia, and the city produces the remarkable number of statues about the king, this means the political meaning like propaganda. Nicolas's study found the following: "He devoted himself to building temples to the most important gods of Girsu: Ningirsu and Nanshe, Ningishzida and Geshtinanna. The statuary of his reign, consisting mainly in representations of himself, is a reflection of his piety, in contrast with the bellicose themes of art of the Akkadian period. The inscription on the statuette is a dedication to the god Ningishzida, who was Gudea's personal god; a list of the temples built by the prince follows, ending with the temple of Ningishzida built in the oldest district of the city, where the statuette