Social And Cultural Belief On Art Practice

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.

Native American culture was a great influence on newly introduced western art when settlers first came to North America. Not only did Native Americans have their own style of art, sculpture, basket weaving, and other fine arts. Their artistic styles helped influence some European art and gave them a different outlook on not only art itself, but a brand new culture that they have not seen before. This paper will talk about the different styles of Native American art and compare it to European art styles and artist, as well as going into detail about how their culture influenced artistic styles.

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 way the manil’s exhibition shows his piece of arts represents that all the collection of this exhibition is based on different concepts and aspects of the life. Most of the collection is made up of wood no matter they were masks , handy crafts or the tools for hunting which shows that they were invented in the time period when they didn’t had any other option of survival like Paleolithic Period (old stone age) when the humans created paintings and relief on cave walls and carve small figurines. Hunting was the main source of food. Weapons and tools were made of woods and tools which also show that they didn’t had any other option at that time. All these piece of art are obviously made by human hand and each specific piece shows they different way of thinking of people of that time .Theses collection shows clearly about the condition of life they were living, their culture, tradition and customs. If we talk about Roman and Greece history we can also say that in their historical background they also had some these kind of collection which also shows their background and cultural values like this exhibition focuses on the people from “Old Bering Sea cultures of coastal Alaska and Siberia, ca. 250 BCE–1000

Throughout history, many different cultures illustrate their history and their beliefs through various artistic objects that they create. These artifacts allow historians to better gage their lifestyle, their beliefs, and how their society operated. One example of this is the “Drum Beater” sculpting created by Karoo Ashevak that is especially famous for its illustrations of the shamans and the spirits. In this research paper, Karoo Ashevak’s “drum beater” will be dissected and analysed; from the Inuit culture itself, to the physical features of the sculpting, as well as the significance and symbolism of the sculpting as it relates to the Inuit culture.

The carving in real sense depicts the victory of Naram who was the fourth king of the Semite dynasty in the Akkadian empire. This carving depicts a different point of

The idea that Prehistoric Aboriginal culture is averse to change or is static is a belief shared by the minority. Although it can be said that Indigenous culture and our ancestral peoples share many similar or unchanged basic behaviour patterns, each society or culture can be distinguished from others by the certain configurative patterns or directives for why the Prehistoric peoples did or did not achieve things and how they were or were not achieved. This willingness to change and not be opposed to innovation and holding traditional values all the time, suggests that Prehistoric Aboriginal Culture was constantly changing. This essay discusses the concept that Prehistoric Aboriginal culture adopted a willingness to learn, change and grow through forms of art and culture, for both aesthetic and useful purposes. Secondly, the developing cultural intricacies will be deliberated, how hunter gatherer societies affected Prehistoric Aboriginal culture and how these complexities are the source of change for many Indigenous peoples through time.

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.

The origins of behavioral modernity has been the topic of debates for many experts in the anthropological field; however, there seems to be a consensus that behavioral modernity can be characterized by abstract thinking, planning, symbolic behavior (e.g. art and ornamentation), use of stone and blade technologies and many others. The use of abstract thought and symbolic representation is one of the defining characteristics of humans. Creating art is a shared trait among all human populations, and the ubiquity of art translates the value that all human cultures and groups place on the creation of symbolic representation.

Ancient Mesopotamia was home to many artistic and mechanical developments. This was due to the emerging civilizations in the fourth millennium BCE. Among these creations, archaeologists discovered musical instruments, which were carefully crafted by Sumerian artists. One of the most acclaimed artifacts from ancient Mesopotamia is the Bull-Headed Lyre. The discovery of the lyre has reinvented the way that history professionals evaluate early human civilization. The Bull-Headed Lyre has impacted history by creating a foundation for an expression of beliefs about wealth in the Sumerian culture. This will be examined through a visual analysis of the Bull-Headed Lyre, evaluating its discovery, and analyzing its representation of wealth.

Throughout history people have came across so many historical artifacts that could potentially give the viewers a piece of information of the time period and an outlook of what the artifact could have be used for. There are many collections of artwork from many people, cultures, and different use of medium like paintings, sculptures, wood cut, etc. One in particular is the subject of a figure, possibly male, carved as a handle of axe with intriguing designs of lines and shapes, the axe seemed portable to be use for an individual. This art piece is called Ritual Axe, created by Yoruba people in Owo, Nigeria, during the late nineteenth or early twentieth century. An axe is a tool to use for chopping or cutting objects, usually axes is made in simple design but the Ritual Axe is could have been used for other purposes. The Ritual Axe is symbolic representation of what the Yoruba people believed in as a way to increase their chance of survival.

time. The subject is a real female courtesan lying nude on a bed in a

Non-adherence to ART may thus take various forms, such as not taking the medication at all, taking the medication at the wrong time, taking the wrong dose due to misunderstanding treatment directions, or prematurely terminating the medication without consulting the health provider (Miller, 1997). Other patterns of behaviour indicative of non-adherence include not filling prescriptions, self-adjusting the regimen to modulate side effects and toxicities, and incorrectly understanding the doctor’s instructions (Chesney, 2003).

When I look at the sculptural work of art “Doryphoros” also known as “Spear Bearer”, I see detailed and complex art elements. These art elements consist of lines, shapes, texture, values, and color. Firstly, the lines of the sculpture consist of thickly curved, swirled, and smooth lines. The lines add definition and dimension to the body of the sculpture. For example, the thick curved lines bring out the masculinity of the man that is observed on his chest, arms, glutes, back, legs, toes, and fingers. Additionally, the thick curved lines add dimension to his facial features. Furthermore, the swirled lines exhibit movement of the hair on the sculpture. Moreover, the smooth lines observed throughout the body adds fluidity and liveliness to the

The readings for this week consisted of summaries in Applerouth and Edles (2016), excerpts from Discipline and Punish by Michael Foucault (1975), “Social Space and the Genesis of Groups” by Pierre Bourdieu (1982), “Outline of a Sociological Theory of Art Perception” also by Bourdieu (1968) and Orientalism by Edward Said (1978), as well as the article “Towards an ‘optics of power’: technologies of surveillance and discipline and case-loading midwifery practice in New Zealand” by Deborah Davis and Kim Walker (2013). All of these readings center on “Poststructuralism”, which Applerouth and Edles (2016) describe as being a response to “Structuralism” (Applerouth & Edles, 2016, pg. 644). Applerouth and Edles (2016) state that “From the perspective