Royal Acquaintances Memi And Sabu And The Statue Of

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

During this period of time, the sculptures were produced first to celebrate ancient mystery cults and sacrifices of victorious military heroes and then to value the role of the Gods and Goddesses by their power and divinity. As more divine they were, it was considered to be a more religious sculpture piece. The sculptures of Gods and Goddesses were built as a form of remembering them through the years and their impact in the Roman society.

The body of the woman has mane and the hair fall over accentuated breast feature on the body. The mane is o presenting both a feel of nobility and fright on the face of a lioness, which has a skull of bone and stylized whiskers on the face . The head is raised in a form of adoration with the solar disk and cobra emphasizing the cosmic aspects of the divinity of the goddess . The face is modeled with high precision on which the eyes are small and eyelids that have been painted as it were a collar or the robe’s edge. The statue is in a seated position on a block with the fingers that have been shaped significantly with a focus on the distinctive feature of anatomy that the artist sought to add with much delicacy, resting on her legs. The goddess’s legs have inscriptions that are added to the surface of the throne. She stands as a towering figure with soft feline features that invoke power and fear especially with the nature of her eyes in the statue. Her elegance calls attention to her presenting a valid reason why she was both feared and

While I was unable to attend the museums in New York I was able to go to the Museum of Fine Arts in Boston and The Smithsonian Natural History Museum in Washington D.C. While I was at both museums I saw that both African art collections had a number of bronze heads of leaders and kings. I noticed that both museums had almost the identical bronze head of the king, so I decided to dedicate this paper on the bronze heads of the Benin kingdom, and the Edo peoples.

culture” (Slide.39), and these two statues are fine examples of how cultural style can be

Although the museum’s policy eliminates viewer touch, it preserves the piece. It would have been a vicarious experience to touch and hold this piece that was created so long ago and held by ancient hands. A statuette is a smaller statue, smaller than life-size. To design this piece the created molded bronze into the form required.

This piece of sculpture is The Doryphoros (Spear Bearer), Sculptor Polykleitos sculpted this piece in 450-440 BCE, during the High Classical period.

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.

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

His neck is nearly nonexistent, and his broad shoulders and long, well-defined arms are disproportionate to the statue’s comparably short torso and legs. In the artwork, Gudea is dressed in a long, smooth robe covered in cuneiform writing. A top his head, Gudea wears a large stylized fleece hat and he holds a jug spouting water in two streams firmly in his hands. In Votive Statue of Gudea, the artist attempts to portray Gudea’s divine right to rule though his use of material, opulent dress, and idealized features.

In this paper I will discuss the similarities and differences between the two sculptures, “The Royal Acquaintances of Memi and Sabu” and “Statue of Gudea”. I will also describe what effects the intended purpose of each of these sculptures might have had on their appearance. “The Royal Acquaintances of Memi and Sabu” (Memi and Sabu) is a painted limestone sculpture produced between 2575­2465 BCE in the years of the Old Kingdom of Egypt. This sculpture is about two feet tall and about nine inches wide. (2016.

During the Ancient Near Eastern period, one of major artworks that stood out from all the others is the Dedicatory Statues from the Abu Temple. In the Abu Temple many different dedicatory statues were found and they may have been used for religious reasons. These pieces of artwork are thought to be created for their deity or god in order for favors such as good harvests. The figurines could have also been created to depict a person in the family that needed spiritual assistance from the gods.

I am to compare two works. The first is the “Statue of Memi and Sabu” and the second is the “Seated Statue of Gudea”. The first one is older than the second, being created probably during Dynasty 4 of the Old Kingdom of Egypt from between 2575 and 2465 B.C.. The latter statue was created is Neo-Sumerian and was created somewhere between 2150 and 2100 B.C..

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

• Akkadian: • Stele of Naram-Sin • bronze portrait of a ruler Assyrian: • Citadel and palace at Khorsabad (including architecture, lamassu, and reliefs of Ashurbanipal hunting lions) Egyptian • Pyramid complex at Gizeh (including Sphinx) • Khufu (diorite statue) • "Ka-Aper" • Temple of Queen Hatshepsut • Hypostyle hall, (reconstruction model) Temple of Amen-Re, Karnak • Fowling Scene, Tomb of Nebamun, Thebes • Akhenaten, Nefertiti, and three daughters sunken relief Aegean • Palace at Knossos (including architectural layout, elements, and decoration) • Octopus jar • Lion gate, Mycenae Greek (Geometric - Hellenistic) • Dipylon krater and amphora • The Francois Vase • Niobid Painter’s Krater • Kouros from Anavysos (Kroisos) • Peplos Kore • Kritios Boy • Fallen warrior sculptures from pediments of Temple of Aphaia, Aegina • Myron, Discobolus