The Lobed Bowl

One of the most evident characteristic that people are blessed with is how they create art. Centuries have passed and yet, humanity's artistic skill and talent did not cease to improve. Consequently, one can always look back because it is through the old relics that the present generation can appreciate people's way of living, and be made aware of their beliefs, culture and tradition a long time ago. Not only that, it is through looking closely that people of nowadays are able to get a visual representation of how people and societies existed in the past. Relative thereto, this paper will analyze Egyptian sculpture.

Islamic craftsmanship incorporates the visual expressions delivered from the 7th century onwards by individuals who lived inside the region that was possessed by or governed by socially Islamic populations. It is along these lines an exceptionally troublesome workmanship to characterize in light of the fact that it covers numerous grounds

Many pieces in Mesopotamia represent the status of the kings as being a greater figure than the common people and even an alike or greater figure than the gods. One piece that depicts the high status of the ruler is the “Fragment of the victory stele of Eannatum”, from Girsu, Iraq. ca. 2600-2500 BCE. On the stele, is Eannatum, who is the ruler who leads the battle, and obtained the city of Umma. He is depicted larger than the army, except Ningirsu, who chose him as the ruler. The audience of the stele is the people of Sumer, but more importantly, his enemies. The second piece that depicts propaganda in Mesopotamia is the “Head of the Akkadian ruler”, from Nineveh, Iraq, ca. 2250-2200 BCE. The hollow-cast sculpture made with Cooper is believed to be an Akkadian king. The sculpture demonstrates propaganda in Mesopotamian art because it reflects the idea of absolute monarchy, and focuses on the kings, instead of the city-state. However, the head was vandalized as its eyes were gouged, and its beard and nose were slashed by the Medes because they were opposers of the absolute monarchy. In addition, another example of propaganda in Mesopotamia is the “Votive disk of Enheduanna”, from Ur, Iraq, ca. 2300-2275, in which the Alabaster disks represents the daughter of King Sargon, Enheduanna in which the cuneiform inscriptions which mentions that she is the daughter of Sargon, who is the king of the world. Moreover, the disk also mentions that she is the

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

After having poured all of his contents into the bowl, Jesus then motions for us to blend the mixture together again. This time, the goop inside of the bowl is now a beautiful gradient blue. Dark blue is mixed in with the powder blue, forming a marbleized color that fits perfectly well together. It reminds me of the ever-changing waves at the sea, crashing in, crashing

This vase could have been used as a container for water or wine and perhaps as a drinking vessel.

In my essay, I will compare and contrast two historical pieces. The first one is the Victory Stele of Naram-Sin. The stele was made by the Mesopotamian empire during the Akkadian period, which was from 2254 to 2218 BCE. It was founded in Susa, present-day Shush, Iran. The second piece is the Palette of Narmer. The palette was made by the nation during the Egyptian period during 3000-2920 BCE. Both of the objects convey different messages in them through their visual construction. First I will discuss the scenes in the objects, then I will discuss the composition, and lastly, I will explain what the pieces were made of and how tall they are.

The clergy in the portrait carry a gospel book, from which the Christians of the church obtain their teachings. The Emperor carries the bowl that is essential in passing the Eucharist to the worshipers and helps one to understand the important role that the emperor played. The bowl is symbolic in nature because it identifies the emperor to be doing the act of homage of a true leader. The symbolism of Christ in the purple orb shows that there is a universal dominion of the power of Christ to the kingdom. St. Vitale gestures a clear mind of the rule of the emperor as a representative of God’s will on earth. The Emperor’s army of Christ is shown in the form of Chi-Rho that is present on the shied the military men are holding (Mango 15).

There are three different colors on the jar: the natural color of the terracotta, the brown paint and the black paint. Since terracotta is a neutral color it provides an excellent background for the painting. Black is a very dark color and it makes the people and the designs stick out. People use black paint when they want their design to be important. Brown is a neutral color and it is used to show the not so prominent part of the image. The little bit of brown paint shows the ground the people are standing on. It also unifies the other places where it appears. Looking at the top there is a pattern painted with both the black and brown paint to show contrast. After contrast is seen unity is also seen with lines.

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 British Museum in London holds many ancient pieces of art. There are so many galleries and exhibits inside the museum that several pieces do not get the attention they deserve. One such piece resides in the Assyrian exhibit inside the museum. It is a collection of three alabaster panels that act as registers of a narrative story. The expertly carved reliefs illustrate the great lion hunt performed by an Assyrian king in an arena. So much emotion is portrayed in the brutal imagery of the lion hunt. These great alabaster slabs once resided in an Assyrian palace in present day Nineveh. The reliefs were excavated in the 1840’s by Hormuzd Rassam, employed by Austen Henry Layard of the British Museum. Rassum found the palace by secretly digging at night because the site was originally claimed by French archeologist Victor Place. Since the excavation, the lion hunt reliefs have been displayed in the British Museum. The lion hunt reliefs features so many qualities ranging from historical to artistic. In this report the topic of why the reliefs were made, how they represented the king, the symbolism of the lion, and artistic prowess of the piece will be exposed.

This Goblet Inscribed with the names King Akhenaten and Queen Nefertiti, is made of travertine, (Egyptian alabaster) height 5 ½ in diameter 4 1/8 in. (MET). When I look at this piece I feel it may commemorate a wedding, anniversary, or King Akhenaten’s deep love and affections for his principal Queen Nefertiti. This Piece encompasses the changes King Amenhotep is making in the Egyptian culture, as the previous artworks and vessels have a much different look and style. King Akhenaten has as of yet changed his name as the cup shows the name Amenhotep IV and his principal Queen Nefertiti. This places the goblet at about 5 years into King Akhenaten’s rule over Egypt. The Goblet is not a typical show of craft for that time in Egypt.

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

The begging-bowl symbolizes Buddha entering the final steps of enlightenment because it is said that a woman offered him a bowl of milk rice while he was practicing austerity but accepted the bowl because he needed the energy to enter the final steps.

Just from looking at a few pieces of the art of the ancient Egyptians, you begin to notice many defining characteristics about it that make it unique and different from other styles of art. There are an ample amount of recurring features in the art, so this must mean that these traits and aspects are noteworthy. This next section of the essay will go into detail about a few of the many types of art and the stylistic elements that define ancient Egyptian art and make it special and distinguishable from other types of art, and why some particular aspects of the art are important.