The Sculpture Bas Relief : Nemesis, Allat And The Dedicator

The “Dome of the Rock” is a true testament to Islamic art. From interior to exterior, it exemplifies Islam’s view of itself. Within the dome, mosaic friezes encompass the earliest written text of the Qur’an. The glass mosaics represent the gardens of Paradise and trophies of Muslim victories, which illustrate vine scrolls and trees in the use of turquoise, blue, and green. The octagonal arrangement is enclosed by two concentric ambulatories. The upper portion of the external dome was also covered in glass mosaics. Above all, the true external focal point is the light that falls on the beloved rock, symbolizing the passage of Muhammad to the heavens.

A formal analysis, contextualizing, and compare and contrast of the Egyptian sculpture of Isis nurturing Horus and the Byzantine icon, The Virgin of Vladimir

Islam began, as stated, in the desert land of Arabia. Due to the Arabs’ tribal nature, they were skilled at navigation and long-distance trading. They became the guides and couriers of the trade routes going to and from Africa and Asia. Thus, towns began to form, including the famous pilgrimage site, Mecca. Arabian tribes often worshipped the Black Stone, kept in the Kaaba, which was located in Mecca. Thus, those that controlled the shrine controlled the entire economic and spiritual life of the region surrounding Mecca. From this group came Muhammad, who founded Islam and changed the course of the Arabs worship. After experiencing a spiritual epiphany in, or around, 610, Muhammad made a decision to worship only the most prominent god in Arab faith, Allah.

The statue of King Sahure and a Nome god is an interesting piece of Ancient Egyptian art ( c. 2500 BC ) that shows signs of Ancient Egyptian culture and beliefs. The statue is a small relief sculpture, meaning the sculptural elements are attached to the solid background of the sculpture and appears to be emerging from the material. The piece clearly depicts two figures side by side, one standing on the left and one sitting on the right (facing foreward). The purpose of this piece was probably to depict a certain symbolic interaction between the two characters.

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

The cultural artifact that I propose to study is a bust of Queen Nefertiti, who was the Royal Wife of the Pharaoh Akhenaten. The bust is said to be painted with stucco-coated limestone, created in 1345 B.C by Thutmose who was a talented sculptor. The bust was discovered in 1912 in Thutmose’s workshop by Ludwig Borchardt and his archaeological team. The bust had many owners in Germany throughout the years, however, it is currently on display at the Neues Museum in Berlin. The Nefertiti bust is a cultural phenomenon, especially for ancient Egypt as well as Berlin. Germany had the bust for over a century now and it has been their pride and joy. The argument between Egypt and Germany over the bust has been going on for decades. Egypt believes that the bust belongs to them and that it was taken

The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).

My second piece I want to tell you about is the Sphinx of Amenhotep III. This piece was made sometime between 2000-1000 B.C. The artist from this piece is unknown but it is believed that the Sphinx of Amenhotep III is a model of a temple. It is only about 9 7/8 inches in length, 5 1/4 inches in width and 5 1/4 inches tall. Amenhotep III had many statues completed of him and during that age Amenhotep built many temples and other chapels. By the looks of it, it just looks like a giant doorstopper. But this artifact has great symbolism. The sphinx puts two things together and offers them to the gods, and that would be protective power of the lion with the royal function. It’s a lion’s body but transforms to human arms and hands. It has about

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

In this formal analysis, the subject is the wall painting Queen Nefertari and Isis, located in Nefertaris’ tomb. The painting shows the ancient Egyptian Goddess Isis “leading” the Queen by the hand. Nefertari lived around 1300-1255 BC and was the first and exclusively claimed wife of the Egyptian pharaoh Ramses II.

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.

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

Kaaba – a sacred building made of “black stone” in the shape of a cube in Mecca and when in prayer Muslins turn in this direction (Dictionary)