The Stele Of Naram-Sin Sne Analysis

In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.

For this first paper assignment I have chosen to write my essay on The Funerary Model of a Pig Sty. This artwork takes place in Ancient China around c. 2nd century BCE. It was designed and used within the Han Dynasty early in China’s history. These clay models like the pig sty and other burial goods had a hand in furthering the development of Chinas cultural heritage and beliefs. Within this paper I will be discussing my chosen MIA artwork, works that are similar but different to this artwork, and also how all three works, although all different, have the same purpose for what they have been made for. Then finally touching on how the context of the piece can change based on its surroundings.

Victory Stele of Naram-Sin is a relief sculpture and was created in 2,200 B.C.E it is 6 feet high, so it is huge. The subject only includes men, and they are dressed for battle. This particular artwork was an illustration of Naram-Sin with his army and how his “enemies [would] fall, flee, die, or beg for mercy” (Kleiner 41). Naram-Sin is the largest figure, about twice the size of the other figures. In addition, he has a helmet with horns and weapons. There is a background in this relief, and it includes a mountain with a tree and there are two stars.

Various pieces of art found thousands of years ago depict characters based on certain events and legends. I will be analyzing two works of art: The Sound Box of the Great Lyre, a wooden music box (33 x 11 cm) found in present-day Iraq c. 2600-2500 BCE, and Lapith Fighting a Centaur, a high metope relief (1.42 m) on the side of the Parthenon in Ancient Greece c. 447-432 BCE. The former represents a bull with a low relief under its head, depicting animals mimicking the lifestyle of humans. The latter exemplifies a nude man struggling against a mythical creature that is half-man half-horse2. Although these works are from across the world with completely different cultures, they both have similar

When I went to Museum of Metropolitan of Art, I saw many interesting works of arts. I was so amazed by all of the art-work. It was a tough decision to choose one work to focus on for my art paper, but there was one sculpture that caught my eye; it was Nataraja of Shiva (11th century) from Ancient Southeastern Art located on the 2nd floor of the museum. The main message of this sculpture is focused on the idea of the boundaries of cosmos and the destruction and rebirth of the world. This paper will employ close visual analysis of this sculpture and describe how the visual elements of the work relate to its main theme. In my opinion, this sculpture is very beautiful and I was so surprised to find it in the museum. As I was growing up in

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 artworks of Ancient Mesopotamia and Ancient Egypt are both strikingly different and similar at the same time. Consistent is the theme of serving the different gods the two cultures believed in. In Mesopotamia the various city-states each had their own protective deity, and in Egypt they sometimes differed from one dynasty to the next. Whatever the case, with the beginning of kingdoms and rulership came the need to justify a position of power and establish a hierarchy. And as more time passed came also the human need to leave an impression on their world. Looking at the example of the statues of Gudea from the Neo-Sumerian period and the Temple of Ramses II from the New Kingdom of Egypt in the 19th dynasty, will show how both rulers of

Looking at the Stele of Iku and Mer-imat causes some questions to arise. Which class did the man and woman on the stele fall in? Was it made during the time of the Old Kingdom, Middle Kingdom, or New Kingdom? Did the two love each other? We can answer or infer the answers to the questions by finding out more about the work. The Old Kingdom lasted from about 2686-2055 BCE and this piece was made by about 2100 BCE, which explains why the polychrome on the limestone has faded so much and the edges are chipped and damaged very badly. The man and the woman were probably in the upper class, seeing as they could afford to have a funerary stele made of them and they are painted wearing expensive outfits. As for whether or not the two were in love, it is obvious that they cared for each other deeply. The woman, Mer-imat, outstretches her arm and wraps it around his upper body, placing it on his shoulder. She is facing in his direction, ready to follow him wherever he may venture. Although he is not caressing her or even looking at her, he wanted her to be shown in the stele with him. In fact, it was very common for Egyptian men to have their arms to their sides, balling their hands in to fists to hold pegs. He is just showing his power, and the whole work is very similar to the statue of King Menkaure and his Queen.

This symbolizes the greater importance and superiority of the deities. Besides that, the characters in the stele are also bare-footed. This serves as additional evidence of their royalty/almighty status.

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.

A stele is a monument that is composed of a single column typically erected to present an important event or person. Here is the Victory Stele of Naram-Sin (2254–2218 B.C.E), who was the last great king of the Akkadian Empire and grandson of Sargon the Great, the founder of the empire. Naram-Sin's title was "King of the Four Quarters" meaning "Ruler of the World." The stele was intended to commemorate the king’s defeat of the Lullubi people in the mountains of present-day Iran. The intention of this work, however, is not only to commemorate an important battle but to show Naram-Sin’s power. Due to the hierarchy of scale it can be seen that Neram-Sin is the most important figure in the piece. He is standing victorious on the top of the mountain

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).

During my visit to the Tampa Museum of Art, I observed and viewed various pieces from The Classical World exhibit. While I observed numerous works, I was drawn to a specific piece due to its uniqueness when compared to the other pieces in the exhibit. In this paper, I will be describing The Torso of Aphrodite, using my own viewpoints and the elements of formal art analysis, in order to explain the uniqueness when compared to other pieces in The Classical World exhibit.

Ever since man began building structures and settling land, art has manifested itself in our architectural creations. Whether it be to celebrate or worship a God or Gods, a grand sculpture to bury a powerful leader or remember them by, or to show a culture’s dedication to specific values, our architectural constructions have led to some of the finest art this Earth has ever seen. The Taj Mahal and Palace of Versailles are two great examples of such art. By examining each of these individually, and then comparing and contrasting them, it will become clear that no matter how different looking these buildings may be, they still serve the same purpose to the civilizations that erected them.

Throughout different time periods and civilizations come many different types of art that would never be comparable to those of another time or place. There are also the pieces that come from a completely different time and place, but yet they can still be compared to one another. The Torso of a God (Egyptian, New Kingdom, Dynasty 18, last decade of the reign of Amenhotep III, Granodiorite, 1359-1349 B.C.) and the Statue of Asklepios (Greek, Hellenistic period, Pentelic Marble, 2nd century B.C.) are two sculptures made hundreds of years apart, yet they both display many similarities and show how art is constantly changing whilst keeping the same core ideas.