Stelae Images

When reading the two chapters I found two rulers who tried to preserve their history through commissioned works of art the first being Naram-Sin, while the other being Gudea. Starting with Naram-Sin, The Stele of Naram-Sin, with stele being an upright stone slab, as described by the textbook on pages 27, and 36, as a depiction of the ruler Naram-Sin memorializing one of his military victory over the Lullubi people. What makes this stele a historical account instead of just a generic battle was inclusion of native trees following a mountain path showing that the stele is depicting a battle. In the stele, the slab uses hierarchal scaling, and religious symbolism to portray his political power as a leader.

remains of these sites are. This essay intends to demonstrate what these areas of the countryside can inform us about life in the area was like, by examining its major agricultural outputs, its religious buildings and whether the area could be considered a ‘Hellenised’ society. By examining the archaeological remains and inscriptional evidence from this part of the ancient world this essay hopes to demonstrate what the evidence, and in some cases the lack of it, tells us about the Roman Syrian countryside not only at

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The image shown also gives the viewer a glimpse into some of the traditions of the days of the Middle Kingdom. The food served in the image is displayed vertically in order of the meal’s courses from bottom to top. It included many different food items including bread, ribs, and squash among a few more. It is likely that these items were common for feasts of this importance, giving us an idea of what foods were likely to be valuable or desired back in the Middle Kingdom. Secondly, in the inscriptions, the Stela makes it clear that the visual of Mentuwoser and the prayers that are written on the Stela are to give him nourishment and rebirth during annual festivals that honor Osiris. At these festivals, family members would visit and honor the stelae in the chapels they were displayed in. By using both visual and written commemoration, the Stela is able to reach those who were unable to read. Both factors give the viewer an enormous look into Egyptian tradition and religion, showing the importance of the afterlife in their culture and the respect they have for the dead.

Weschler points out the thousands of cuneiform-engraved clay tablets that were in his friend Stopler’s office and also reflects what his friends had to say about the tablets and his experience with finding ancient information. People have always found a way to leave their mark

This book is based on Christianity and how the religion was viewed through images. The text has an ere of concepts that ties in the concepts of Christians to the beginning of the start of Christianity. The purpose of this book is to show the readers the difference between how Christian art was represented and how other art was portrayed. I will be giving an overview of what Christianity represents and the art work that it includes.

Boundary Stelae 2014: 3). It an important note Akhenaten does not accredit himself with the specifics only that the location was his choice as he looked to match specifications entrusted to him by Aten, with the self-importance attributed to many previous braggart Pharaohs, Akhenaten does not do this. Now Akhenaten does take credit for the find of the specific location where no former religious taint or city it was founded, truly on a pure and untouched piece of land. Other tangible evidence is provided in the obvious reflection in art, architecture, building design, city planning, and religion at this time.

The author’s intent was to show that the ancient people commonly used graffiti to show their feelings and opinions, in contrast to a claim that they were not accustomed to graffiti by scholars of the past. To bolster her own claim, the author used evidence that “archaeologists noticed copious amounts of graffiti on the outsides of buildings.” In other words, the abundant amounts of graffiti found on the exterior walls of buildings by archaeologist give the readers an impression that graffiti were prolific on walls of the ancient city. The discovery

Through Pagan and Early Christian Art, biblical scenes were used to decorate the surface of several artifacts, especially the Brescia Casket. Also, known as the Brescia Lipsanotheca, this ivory casket, estimated to have been created in the 380s AD or the late-fourth century in northern Italy, is exquisitely carved. The actual use of the box is questionable, where in some cases people have argued that it was of domestic use , or reliquary or a pyxis. Where it held relics or the body of Christ, the container is far too glorified to be used for burial purpose, which leads many to believed it was used in a context of worship. All sides, excluding the bottom, of the casket portrays several biblical characters, such as Susanna, Moses, Daniel, Jonah, and more. In some of these characters’ cases, they are being shown more than one on either the same side or a continuation on another panel. The purpose of this paper is to be able to identify if the portrayal of the scenes differs from the parable told in the Bible, and to link the smaller images on the back and front of the casket to the main scene on each side.

The following paper objective is to present the funerary stela of Ta-Khaa-En-Bastet, kept at the Cincinnati Art Museum. The stela’s accession number is 1947.392 and is possibly from Abydos because of its imagery. The stela dates back to the Late Period of ancient Egypt, which is 664-332 BC. This funerary stela helps to provide data about the funerary practices and the responsibilities women had in ancient Egyptian society.

Furthermore, Pruitt and Uraneck display their topic as account that consist of answering of how, when, where, and what. The language used to relay information in their account suggest that the two studies focus on telling a narrative, with outcomes. However, these outcomes are not in a scientific research format, but in paragraph forms. Further suggestion that their intent is not to give results, but to portray the Dead Sea scrolls or Picasso as being extraordinary.

I will be choosing to write a traditional research paper for my final project. The topic of my paper will be the treatment of figural images in Islam as compared to Christianity. To begin the paper, I will give an overview of what the majority of Muslims and Christians believe about images and why. The main focus of my paper will be on Iconoclasm and how certain factions of each group are opposed to and even destroy figural imagery. I will briefly discuss the Byzantine Iconoclasm and the dispute between the Iconoclasts and Iconodules; providing a brief overview of the arguments from each side. I will describe how Muslims who are not against images have similar arguments to the Iconodules of the Byzantine Iconoclasm. I will analyze early instances

The Tel Dan Stele (Figure 1) is fragmentary, consisting of 3 separate fragments with 13 lines of readable, Aramaic text. The author is agreed by most scholars to be King Hazael of Damascus (Biran and Naveh 1995, 17)

Assyrian art was long buried under the sands of time. The palaces collapsed, and the grave of the city was unrecognizable. In Wilkinson’s “Some New Contacts With Nimrud and Assyria” he discusses these ancient people and their prevalence in today’s museum society, as well as their possible influences. The Assyrian people were very vicious and many descriptions of them in the Bible do not describe them to the extreme that they describe themselves. Since Assyrian art was buried for the longest time, people did not really understand them and their culture that well, which is why people such as Layard, an archeologist, were eager to discover more. Wilkinson describes how many museums didn’t have any Assyrian exhibits until around the eighteen forties to the eighteen fifties. Wilkinson uses descriptive details, and references to describe Assyrian artwork and its prevalence to museum culture.

Monuments are resilient and commemorative structures that are significant to cultures or social groups. They may tell the tale of an event or celebrate or revere a person or God. Mayan stelae monuments are monuments that were fashioned by the Maya civilization of ancient Mesoamerica. They consist of tall sculpted stone shafts and