Victory Stele Of Naram Sin Analysis

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.

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

According to History.org, the stele of Naram-Sin is a monument composed of a single column or shaft typically erected to commemorate an important event or person. The Akkadians under Sargon dominated the Sumerians about 2300 BC. Naram-Sin was Sargon's grandson. The god-like Akkadian kings ruled with absolute authority. Naram-Sin's title was "King of the Four Quarters" meaning "Ruler of the World."

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.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

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 theme of the two art works, “Theodora and Attendants,” and “Akhenaton, Nefertiti, and Three Daughters,” is Political Authority. This is a theme presented countless times throughout art history, and is a theme that is still used in art today. It reflects the concerns and desires of the rulers of the time and is used as a form of propaganda by said rulers to change the minds of the people they are ruling. Art has power and the rulers use its power to control their people. The presentation of these pieces reveals that the rulers want their subjects to view them as powerful and divine. Both of these cultures are also heavily influenced by religion. Both “Theodora and attendants” and “Akhenaton, Nefertiti, and Three Daughters” are forms of political propaganda that use religion to try and influence their subjects.

Represented with his shoulders frontal, and head in profile, the king is as close as humanly possible to the deities at the top of the stone slab, personifications of the sun. All individuals depicted gaze towards the Akkadian regal: his army and the vanquished turn towards him, creating a clear focal point of the composition, even the fleeing Lullubi (in the extreme far right) face Naram-Sin as he makes his escape. The horned helmet worn by the Akkadian king is a symbol of divinity, thus he is assuming the importance and status of a god with the adoration of the headdress. The relationship between gods and rulers is not exclusive to the “Stele of Naram-Sin”, in the “Stele of Sargon” examples to the a similar effect can be seen. “The enthroned goddess was complementary to and associated with the transformation of the figure holding the net into a king, since, especially from the Sumerian point of view, the presence of a real deity was then necessary.” Both Naram-Sin and Sargon’s steles are examples of the Akkadian kingship being legitimized because of religious

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

The purpose of this work is to analyze two famous works of art that are the great examples of artistic tendencies in fourth and sixths AD. and were influence and inspiration for many artists. Most of the Christian art dates back not earlier than to the fourth century and the reason for it was the fact, that at that time the Christianity was against the law. Nevertheless, a number art works, frescoes and paintings show the beliefs, customs and traditions of the early

This real gem represents the Akkadian royal domain; this triumph stele observes Ruler Naram-Sin's violentl vanquish over a mountain people, the Lullubi. The Akkadian ruler drove his troops over the lofty inclines of his adversary region, fiercely smashing all in their way.

When examining and comparing The Equestrian Statue of Marcus Aurelius and Justinian as world conqueror it is important to examine the iconography and visual motifs of both pieces before comparing and contrasting them. The Equestrian Statue of Marcus is an example of a Imperial Roman made from gilded bronze, and Justinian as world conqueror is a panned from the Barberini ivory which is a diptych from the Byzantine Empire

Just as it’s human nature to believe in something larger or more powerful than oneself, it is also human nature to express that divinity through art, this is proven time and time again in human history. Picturing the divine is a type of testimony to show a cultures greatness. The painting Arhats Giving Alms to Beggars comes from the Chinese culture of the Southern Song period. Whereas, the mosaic Christ as Pantocrator comes from the Byzantine culture of the Greek Orthodox tradition. Although these paintings come from very different backgrounds both cultures show the divine and their pressure on mankind to follow the rules, such as giving away worldly desires. By doing so and letting go of material possessions, mankind can be hopeful of

Justinian Mosaic is a Byzantine mosaic located in the apse of San Vitale, Ravenna in 540 AD. It was made from gold and glass mosaic tesserae. The artists painted or covered the glass with gold first and then pressed into the plaster background. The artists manipulated the space which was to utilize the illumination of the candles in the church to cause the sparkle of the glass. The overall looking of this piece is luxurious and magnificence. In this piece, Justinian is surrounded by his priests and his military. He is placed in the center of the whole piece, wearing jewelry-crown, jewelry-accessory and gold cloths with a halo behind his head. He offers a gift called Pater which contains the bread used for the Eucharist would be held. The main

Several events from the 4th to 6th centuries resulted in the division of the Roman Empire. In the west, Rome stood proud with it’s rich history and achievements. However, in the east a new empire was born and quickly rising. This up and comer had many astonishing treasures of it’s own but one stands out above all others. Since it’s competition in the year 537, the Hagia Sophia has dominated the city of Constantinople, now present day Istanbul, through it’s style and beauty serving as a highly important religious structure to the Christian Orthodox faith and a monument representing the power of the city.