In Sippar, Mesopotamia, there laid a temple of the sun god, Shamash. Within the courtyard of this temple, there stood a six-foot six-inch piece of Royal Art. On display for the generations of that era, and many eras after, many are able to awe in the narration of a victorious event. This art displays the triumph of Naram-Sin, and his Military, conquering the Lullabi people of Zargos mountains; habitants of Eastern Mesopotamia. In r. 2254-2218 BCE, Naram-Sin was inspired to leave an imprint of his heroism and supremacy by creating the ‘Stele of Naram-Sin’.…
Inside of the Metropolitan Museum of Art two large statues stand at the entrance of the Ancient Near East. These statues are Neo-Assyrian Sphinxes or the Mesopotamian equivalent. The Neo-Assyrian influence over Mesopotamia lasted from the ninth century to the sixth century. The primary function of the statues is not aesthetic. Royally commissioned art during the Neo-Assyrian period was responsible for maintaining and spreading the influence of rulers.…
"The standard of ur" is a small trapezoidal box found in one of the largest graves of the Royal Cemetery at Ur in southern Iraq between 2,600- 2,400 BC. There are three lines of registers that are meant to be read from the bottom up. The original wooden frame for the mosaic of…
Lamassu and the Colossal Statue of King Tutankhamun The University of Chicago Oriental Institute is an archeology museum and serves as the research center for ancient Near Eastern studies. The Oriental Institute has participated in major archaeological excavation in the Near East and as a result they feature incredible objects that are in their permanent collections. Two sculptures in particular from two different exhibits stood out amongst the rest for me upon my visit, they were so impressive that I felt compelled to discuss them further. The first one being, Lamassu, Assyrian Art, 800 B.C. and the other is called Colossal Statue of King Tutankhamun, Egypt, 1334 B.C.…
The Fragment of the Ur-Namma Stele does not have a specified artist. The stele is made out a pink-buff limestone1 and this fragment stands roughly two or three feet tall, being wide at the bottom and narrow at the top. The stele as a whole was sculpted in the city of Ur in the great civilization of Mesopotamia during the Ur III period, known as the reign of Ur-Namma. Ur-Namma may have been the king of the city of Ur, and this stele could be a tribute to his leadership. This period of time could be in the 2100 BCE, when the Great Ziggurat of Ur-Namma was built.…
Conducting a visual analysis of the Bull-Headed Lyre, evaluating its discovery, and analyzing its representation of wealth can generate conclusions about the people of Ur and the culture in which they lived. Dating back to ca. 2600-2400 BCE, There is a lot of meaning behind…
One way in which the Natural portrays aspects of King Arthur is which Pop Fisher. Fisher is like Fisher King. In the book, when Pop gets sick, the fans stop showing up, the playing field become dry, and the team loses games. Another aspect is The Waste Lands when the King is ill the land is dry and bare. Perceval comes to help the king and the grass starts to grow and flowers flourish.…
The texts in the interior walls of the pyramid of Unas explain their belief on the afterlife and its relationship to the solar cycle. The reason why the sarcophagus was on the west end of the burial chamber was representative of Nut’s womb, the sky god. As the sun rose from the west, the king’s spirit was revitalized to proceed from the burial chamber to the antechamber. In the antechamber is where both the sun and the mummy received the power of a new life, and every night the king’s spirit would go back to his tomb, working as a resurrection machine. Pyramid shape tombs returned during the 5th and 6th dynasty, which meant large amounts of labor and raw materials where necessary to build them.…
The development of Egyptian architecture from the Predynastic period through the New Kingdom revealed Egypt’s journey in the world of art. The Predynastic Period started at around 3500 BCE. It was from this period of time that the earliest Egyptian narrative reliefs and paintings were found, and the name of the first artist, Imhotep, was recorded. The Palette of King Narmar (3000-2920 BCE), was a ceremonial palette, and set the standards in regards to style, and perspective for many years to come. This palette portrayed the unification of the Upper and Lower Kingdoms, the “Kingdom of the Two Lands” (pg 57).…
Burial traditions vary across time and space. Looking at societies in similar stages of development, trends in how individuals of various statuses are buried become visible. In looking at a few of the Mississippian cultures and the famous tombs of King Tutankhamen and The Death Pit at Ur, one can explore how these trends and differences appear. Additionally, these case studies can be used to examine larger issues within the field of archeology -- such as looting and preservation -- and to explore missteps in previous excavations in order to prevent those mistakes in the future. Mississippian burials are very modest in comparison to the graves found in Ur and in Egypt, representative of how the Mississippians were at a different stage…
This art study will provide a visual and iconographic analysis of “The Palette of Narmer” in the context of the Egyptian stonework from the 31st century B.C. “The Palette of Narmer” (circa 31st Century B.C.) is a carved stone object typically meant for grinding cosmetic powders (to adorn statutes of the gods), but this object was used as a formal ritual object in a temple. This palette was found at the Main Deposit of Egyptian antiquities in Nekhen, which presents one of the earliest known examples of Egyptian hieroglyphics ever found at an excavation site. The iconography of this piece expresses the traditional symbolism of government order in ancient Egypt through the unification of Upper and Lower Egypt under King Narmer.…
The olden Egyptians believed in a cosmos order and assumed that the entire natural existing had once been established when the world was created by Ptah/ God. And so god rested after all creations had been made with all divine words. There is an Egyptian scholar, John Wilson has rephrase the word divine by stated Ptah had made a system into which all elements should be in appropriate order while being created. [1]Page 7-8. The association of divine powers with animals was understandable for the ancient Egyptians.…
A system of proportions was used throughout the history of ancient Egypt. The canon created a system to determine proportions. Specific proportions may have varied; however, the principle of the canon remained unchanged. Have you ever noticed that ancient Egyptian sculptures often look very similar even when made centuries apart? What was the 'Canon' of Egyptian sculpture?…
The life they had known was a suffrage for the deities and that the life to come was almost like a reward and completely different from the lives they had already known (Connor, 167). Egyptians emphasized on geometric shapes, outlining, color and chiaroscuro, they built many pyramids and tombs for the dead in order to experience an afterlife in comfort and to have their possessions with them. A famous piece of work was the “Funerary Mask of Tutankhamun” it’s beautifully done with much detail, style and the use of complementary colors. This is the funerary mask of the young Egyptian ruler, Tutankhamun, the emblems on the forehead the vulture and cobra and on the shoulders falcon heads were symbols of the two lands of Upper and Lower Egypt of divine ruler ship. It was patterned with blue glass and gold and was composed of semiprecious stones, the stripes used to portray this work of art was to establish the abstract look as well as the geometrical position Egyptians often took.…
As time passes, so does the trends of different arts and culture. Part of why ancient art is so fascinating is the fact that art today is different in so many ways than all arts before; therefore making the incredible ancient pieces so intriguing. Along with time, every different civilization interprets and executes art differently, aiding in the immense diversity we see. From approximately 1400 BCE to 460 BCE, several different civilizations were taking control over the Near East, thus bringing their own aesthetic to the arts. In addition to these novel and ever changing aesthetics, the art and architecture was also affected by the civilizations coming before them.…