The Statue Of Ramesses II

The Kneeling Statue of Hatshepsut is from the Eighteenth Dynasty of Ancient Egypt, located in Deir el-Bahri, and is dated around 1473-1478 BCE. This statue is 8’ 6’’ tall and is completely made of red granite. The statue shows Hatshepsut kneeling on both knees with each hand holding a sphere. However, Hatshepsut is known as a female ruler, but this statue and including other statues, she is represented as a male ruler. Upon closer inspection, her shoulders are broad, she is wearing a linen headdress, and a fake beard which is typical for a male ruler to wear. Also, the inscription, or hieroglyph, use a feminine form to identify her as a female ruler because there’s was no word for king. Adapting to the visual forms of kingship, the Kneeling Statue of Hatshepsut can demonstrate the cultural, religious, and political environment of Ancient Egypt.

The Colossal Statue of King Aspelta appears to be especially influenced by the statue design of Old Kingdom Egypt, despite being a Kushite work from the Nubian region produced between the years of 593 and 568 BC. Due to the larger than life size of Aspelta, the eye is initially drawn to the pectoral and abdominal region of the body. This portion of the statue is especially idealized as the pectorals are toned and the abdomen is similarly muscular. Furthermore, there is no indication of any weakness or fat, which would be typical of the average human being. Even in the absence of the work's title, this makes it evident that subject was in a position of power and wish to be seen as an ideal and powerful portion.The arms are large, yet not well

The statue of Hatshepsut seated down is made with the material limestone. This limestone is lightly colored, which created a larger contrast with the other statues nearby. Her face was carved bringing out her eyes, eyebrows and other facial features. Her eyebrows also come slightly together towards the middle. Her lips forming a slight archaic smile. The dimensions are larger than an average female size. The statue is of great size, yet still in proportion. The body and head fit well with each other overall. However, it is greatly exaggerated in size.

Examining the Ancient Egyptian civilization reveals much about the nature of its art. The art was mainly religious in content and purpose and, as the “religious dogma” remained unchanged for nearly 3000 years, so did the art (Piper, 1991: 24). Because Isis and Horus are divine beings, they had to be portrayed “with limited human expression” according to “strict formal conventions, in keeping with their divinity” (Mason, 2007:13). The sculpture is fairly flat on the back side of the throne, for the sake of functionality. It was not “intended to be seen in the round”, but was most probably placed against the wall of a tomb (Ancient Egypt – Myth & History, 2002: 439). In fact, this sculpture was not made

Hatshepsut was the first woman pharaoh ever recorded in history. Although there are a few obvious breaks, this granite sculpture was put back together nicely. Because this piece is so important, the Metropolitan Museum of Art has to be careful of what to light up on the sculpture. This does not look easy because the statue is so massive, but the Met did a good job capturing the face with light, and the top of the orbs. The shadows also reflect how angular this statue really is, and the unrealistic body of the woman pharaoh Hatshepsut.

Guarding the entrance to the 100 feet tall temple are four enormous statues of the Pharaoh, who ruled for roughly 66 years during the 19th dynasty. Each statue stands 67 feet high and depicts Ramses seated on his throne, wearing the double crown of Upper and Lower Egypt. Adorning the sides of the thrones is the symbolic unification of Egypt by the Nile Gods. The whole upper body of one of the figures is destroyed, damaged by an ancient earthquake. You can still see the remains of the torso and head at the base near the feet. Statues of Ramses mother Mut-Tuy, principal wife Nefertari, and son, Prince Amonherkhepshef, stand at his sides, almost as high as his knees, and smaller statues between his legs are thought to represent either his daughters or lesser wives. The frieze topping the temple facade shows 22 baboons worshipping the sun. The recessed statue above the entrance is that of the falcon-headed Ra-Harakhti (associated with Horus) and is flanked by two Bas-reliefs of Ramses, presumably worshipping him. Three connected halls inside the temple dig 185 feet deep into the mountain, where pictures of the King's "grand" accomplishments can be seen covering the walls. The temple was completed near the 24th year

The first object that I have picked while I was at the museum is the Kneeling Statue of Senenmut, Chief Steward of Queen Hatshepsut. It is said that it was created in the early 18th century between the years 1473-1458 B.C. The instant I walked in into the Ancient Egyptian collection I couldn’t take my eye off of that sculpture, due to that being it was probably the the darkest object there. The kneeling Statue of Senenmut was engraved from a grayish green stone, I like this object because, all the achievement and work that Senenmut have done in his life was carved all over this object. One of my dislikes is

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 statue is located in the city of Deir el-Babri. Its’ creation dates back to 1473 -1458 B.C. Made of Granite, the statue has stood the tests of time, just as the history of Hatshepsut. It was made in the New Kingdom period. Curated by Hatshepsut herself, the statue was to depict her as a man since there was so much controversy to how she came to rule and the issue of her being a female pharaoh, which was rare at the time.

One of the greatest and most ancient of the worlds mysteries, still undeciphered by archaeologists today, resides at the Giza plateau. It is ‘The Great Sphinx’. This colossal statue holds centuries of untold secrets. Standing “sixty feet high and two hundred and forty feet long, the Sphinx is the biggest single stone statue in existence” (“Secret: The Sphinx”). This Egyptian masterpiece represents a fictitious creature that has the head of a man, but the body of a lion. Unfortunately, the Sphinx’s appearance has suffered greatly over the years. “The head of the Sphinx has been badly affected by…years of erosion” and pieces of the monument are missing, like the nose (Haughton, 45). However, historians

Monuments are created to commemorate a time, a place, an event and a person’s significance in their contribution to the identity of a community or culture. Monuments are expected to withstand the elements of nature; humankind’s version of history, and in all cases, a society’s sober second thought. However, standing not so proudly and surrounded by Hollis, Barrington, and South streets is the statue of Edward Cornwallis, the founder of Halifax and former Governor of Nova Scotia.

Rameses was know as the Rameses the great for many reasons, one of the reasons was that he was that he was a tremendous general leading and fighting in a countless amount of battles. He also was a master builder constructing and erecting more statues than any other Pharaoh. He had huge impact on religion he was responsible for changing the religion of ancient Egypt.

He is shown like a mature yet shown enough man perhaps in his thirties, with slender hips, broad shoulder and well developed arms. His body looks like as other Egyptian statues such as knees and shin bone are automatically correct. Overall, King shown as ideal of man’s beauty in old Kingdom Egypt. King’s face also appears like aristocratic looking, projecting from his chin is a short bias striped, wedge shaped beard. On his head, King wears a Nemes (headdress), both of sides are pulled back his large ears, symbol of royal status.

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 Parthenon of the Athenian Empire was built from around 447-432 B.C.E (Citation) it is also well known for its containment of Athena’s Gold and Ivory Statue. It is also well known for having the Parthenon frieze, which consists of a set of wall sculptures showing specific events relating to a temples deity. They were craved with precision and beauty and to be shown around all four sides of the Parthenon. The frieze is a great representation of Greek culture and identity. Thomas Bruce also known as Elgin has played a role in the removal of major quantity of those sculptures and artistic cravings from the Parthenon where they have now been in possession of British Museum for more than 200 years. There has been a stir between