Statue Of Gudea Analysis

The twelve statues known collectively as the Tell Asmar Hoard (Early Dynastic I-II, ca. 2900-2550 B.C.) were unearthed in 1933 at Eshnunna (modern Tell Asmar) in the Diyala Region of Iraq. Despite subsequent finds at this site and others throughout the Greater Mesopotamian area they remain the definitive example of the abstract style of Early Dynastic temple sculpture (2900 BC-2350 BC).In the late 1920s antique dealers in Baghdad were acquiring large quantities of unusual, high quality artifacts from the desert east of the Diyala River, just north of its confluence with the Tigris.[1] In 1929 the Oriental Institute at the University of Chicago obtained a concession to excavate the area.[1] James Henry Breasted (1865–1935), the founder of the

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

located on the first floor of the Museum of Fine Arts Boston, in the Ancient Near East

In April of this year, The Charlottesville city council voted to remove and sell the confederate statues of Robert E. Lee and Stonewall Jackson, and to the renaming of both parks where the statutes are located. Alerting the attention of white nationalist Richard Spencer who organized a march of Ku Klux Klan members to gathered in Charlottesville, Va. On August,12,2017. According to (The daily progress) They protested the removal of Confederate General, Robert E. Lee’s statue. The protest gathered about 1,000 people opposing the group of 30 to 50 Klan members, numbers that were cited by (NRP.ORG) The aftermath resulted in altercations between both parties that ended in a car ploughed into the crowd of the counter protesters who identify as Antifa,

The sphinx is located in the eastern wing of the museum. This is a fairly small artifact comparing with the original sphinx located at Giza, Egypt. It is famous for its projection both Kushite and Egyptian elements. The lion shown in the body of the sphinx is done in typical Egyptian style like the grand sphinx itself, while the face of the artifact clearly Sudanese resemblance of Taharqo, the black king. There are hieroglyphics and symbols on the statue clarifies the fact that it is a real and legitimate portrait of the great King Taharqo. The statue is kept in the central of the room in a glass box (Caleca, 1979). The statue is only accessible for viewing. Visitors are not allowed to touch the box at any cost, but they are allowed to take pictures. Besides the box, there is black and white steel panel where description about the statue is written. It’s said there that, Taharqo was in fact, the fourth pharaoh to rule both the kingdoms of ancient Egypt and Kush together, during the Third Transitional Period of the middle age (Török, 2002). Also, there was a mention that, this statue was built around 680 B.C. The statue was first discovered by archaeologists at a demolished stone temple in Nubia (now known as Sudan), which is situated in the south-eastern part of the Amun Temple at Kawa (now Gematon). The excavations were conducted and monitored by the University of Oxford in 1930 (MacGregor, 2012). Experts believe

While examining these two statues I observed very few similarities which in this case is possible being that the two are from different a time and period. Both works of art were created out of limestone and carved with exquisite detail. They both were four-dimensional which rarely existed in the artwork of the early periods. They both also seemed to serve a high purpose, which I believe to be religious.

The two sculptures, the Statue of Memi and Sabu and the Seated statue of Gudea are

Both sculptures give a few views of how these individuals were looked at. They were gods so the sculptors portrayed them as such and they did it with great skill. We will observe and pick apart these “Gods” doing things that normal humans cannot no do. Such as holding the world on their shoulders or sleeping on a snake with ease. This idea of mythical beings has been around for many years along with their religious beliefs, no one honestly knows if they ever existed but through evidence found, we think otherwise. We think this because the viewer sees one of the "Gods" asleep on a serpent(snake), then the other sculpture is of "Gods" assisting another holding the world (heavens). Two examples of mythical "beings" would be the sculpture of

If you want something to last for a long time, there are not many better ways to do it than in stone. Though they are separated by hundreds of years and miles, two sculptures make an interesting study in the similarities and differences in such attempts to last the test of time. The Royal Acquaintances Memi and Sabu, from approximately 2500 B.C. Egypt, captures two individuals, a male and female in simple clothing, standing and holding one another with some hieroglyphic writing on the base (Metropolitan Museum of Art, n.d.a). The Statue of Gudea, from 2090 B.C. Mesopotamia or modern-day Iraq, is a statue of a sitting male wearing seemingly special clothing and a robe upon which text is inscribed. Visual observations of the pieces may suggest some similarity, but an understanding of each with context seems to drive them further apart from one another.

The dying trumpeter marble statue is a huge feat when it comes to Greek development in male form. This statue is seen lying down on his leg, “who collapses upon his large oval shield as blood pours from the gash in his chest” (Kleiner, F. 2014, 155). This statue’s posture is realistic in the way he is turned and also in the way is arms and legs are laying. His right arm is hold him upright, while his left arm is on his right leg. His upper body is turned in order for him to place his hand on his left leg. There are lines in his stomach, where a human would have if they were sitting down and turned. There is also lines and ridges in his feet, showing that he has joints in his toes. This statue portrays the correct human anatomy by having a rounded

In this sculpture they also express the affection they have for one and other. Next I will examine one other art work, Menkaure, and Queen, to my original double portrait Memi and Sabu, to find some similarities and differences. The preservation of “Royal Acquaintance Memi and Sabu” where found in a tomb in Giza. Which is normal for Egyptian culture because Egyptians were obsessed with death. The preservation of Memi and Sabu sculpture have some chipped pieces but, other than that they are well preserved.

The material used for this sculpture says a lot about the time in which it was made. The early dynastic period you see a lot of sculptures being carved from limestone and light sandstone. The Pre- dynastic and early dynastic periods also carved their statues from wood and ivory. This is still true for sculptures of the later time period but is most common among the lower level elite class and the slavery class. This is not often seen carried out in the creation of royal sculptures as they upgraded to harder to obtain and harder to carve stone; such as greywacke, gneiss, calcite, and diorite. There are some cases in which harder stones were used for non-royal sculpture, but it was rare. During the Old Kingdom period is when you start to see variation in the type of stone used. Sculptors

Discovery of Statues in Lagash Lagash was one of the oldest cities in Sumer and Babylonia. Today it is represented by a long line of ruin mounds, which are rather low, now known as Tello al-Hiba in Iraq. Located northwest of the junction of the Euphrates and Tigris rivers, and east of the ancient city of Uruk, it is positioned on the dry bed of an ancient canal, approximately 10 miles north of the modern town of Shatra. # The ruins of Lagash were discovered in 1877 by Ernest de Sarzec, a Frenchman, who was allowed by the Montefich chief, Nasir Pasha, to excavate the site at his pleasure in the territories under the governing of Nasir Pasha.

In this essay, I will attempt to compare and contrast two sculptures, the statue of Gudea, prince of Lagash, c. 2120 BC from the Neo–Sumerian period (The Metropolitan Museum of Art (2015)) and the Egyptian statue of Memi and Sabu. The statue of prince Gudea is a fairly small sculpture about two feet tall and is made out of hard stone diorite. Looking closely, we see a handsome man. His face is idealized in a way his features for instance his eyes, nose and mouth are sculpted in a very stereotypical way that is commonly seen in ancient Greece and Egypt sculptures.

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.