The third floor of the Los Angeles County Museum of Art houses a permanent collection on Ancient Egyptian art. One of the pieces there is a 13" high figurine of the goddess Wadjet, sculpted from bronze in during the 26th Dynasty, est. 664-525 BCE. The figurine is in the round, with only the goddess's feet attached the rectangular base she stands on. The hieroglyphs on the base identify her, as well as the name and parentage of the person who dedicated her figurine. She is shown in the traditional ancient Egyptian pose, with her left foot forward. She is wearing some sort of dress, but her decidedly feminine figure, with a curved abdomen, narrow waist, and protruding breasts, is clearly portrayed through it. Her right arm is held rigidly at her side, again in strict stylistic convention, and her left arm bends only at the elbow to hold whatever less enduring material was placed there. In fact, both of her hands were clearly intended to encircle props, but these have been lost and as such, what they once were can only be inferred from other portrayals of the goddess. She clearly wears necklaces, armbands, and bracelets; this highly detailed work is also present on her lion's mane, which is shaped similarly to the pharoah's headdress. She has the head of a lioness, upon which rests the sacred cobra and sun disk, called the uraeus.…
In her work, ‘Highway is a Disco’, the central figure looks like a maternal warrior with five breasts instead of two. With her legs covered in scales or feathers, she seems to be merging with the natural world. A snake and a kangaroo are shown clinging to her limbs. Barton’s artworks can have different cultural aspects, such as the snake clinging onto her limb can symbolise, in some cultures as ‘snake goddess’ primitive symbol of male genitals. Another common cultural aspect is the multiple breasts that go as back as 200 BC artworks, such as the Greek…
Walking through LACMA there was a section that caught my eye and found it to be of interest to me. That section was the Greek, Roman, and Etruscan Art which was located on the Ahmanson Building, Level 3. There were various unique pieces such as vases, jewelry and sculptures. I chose the sculpture of Hope Athena to do my visual analysis because I found it to be beautiful. Athena was a Greek goddess of wisdom and war. The sculpture at LACMA is a Roman, 2nd century copy after a Greek original of the late 5th century BC School of Pheidias. The sculpture was made out of marble with neutral colors. In parts the color was dull with hues of ivory and golden brown. The shape of the body was rectangular with broad shoulders. The sculpture had her arms missing. Her head was round with hair coming down in vertical waves. She was wearing a warrior helmet from my view point I could not tell what the helmet had on it. The helmet gave her a powerful look. Her facial expression seemed reflective with facial features being symmetrical and smooth. The eye sockets were hollow and dark. Her nose was chipped and her upper and lower lips were thin. One of the focal points for me was how her robe or drapery had such detail throughout the sculpture. It wrapped around her body with great detail with vertical creases and folds giving the sculpture a realistic look. The vertical lines toward the bottom of robe had great detail and were distributed equally and her feet and toes…
At the Montclair Art Museum, located in the Rand Gallery of Native American Art, there is a tall statue made of Bronze and Jetulong wood, standing tall behind a glass case, called Pueblo Maiden. The figure is long and lean, and towers over many of the other artifacts in the gallery. The bronze color of the figure is constant throughout the sculpture. The head is small and round. The hairstyle is short and square shaped. It is similar to a women’s “bob” hairstyle with bangs that covers the figures forehead and ears. The surface of sculpture is smooth. The face features two indentations which look like closed eyes and a rectangle shape for the nose but there is no indentation for a mouth. The head of the figure rests on a narrow shaped neck.…
Garner combines an examination of the politics and philosophy of the issues relating animals and the nature. The book includes major theoretical and empirical incidents such as the campaigns and public controversies over the export of live animals and the use of animals in research, the impact of genetic engineering on animals and the latest developments in the debate over…
The Knossos palace was first built around 2000 BC, and reflected the grandeur of Minoan civilization. The Palace spread over six acres of land with heights reaching four stories. It was constructed in a labyrinth, maze-like pattern and about 100,000 people lived there. The walls of the Palace where fill with beautiful and colorful friezes and frescoes, figures and paintings on plaster, which depict life from this era.…
First, the palace at Knossos is a Minoan architectural feat that exemplified the Minoan culture, as a whole, on the island of Crete. Dated to around 1700-1300 BCE, this early bronze age palace was a part of the new palace period. The palace was excavated…
Napoli, Donna Jo. Treasury of Greek Mythology: Classic Stories of Gods and Goddesses. Washington, D.C.: National Geographic Society, 2011. 42-43. Print.…
The Gods and Goddesses of Greek mythology have gained their fame based on their own roles within Greek culture, and have been attributed to becoming the God or Goddess of a specific concepts, objects, or personal talents. Basing his novel mainly on this idea, Riordan forms a world within the novel, where the behaviors of characters refers to the titles or powers of certain Gods or Goddess. Specifically the Goddesses of Athena and Aphrodite, Riordan steadily allows the put down of Aphrodite and raises Athena on a pedestal. Aphrodite, the Goddess of Love and Beauty, is seen to represent the old fashioned mindset of women as being only figures of physical beauty and having little to no role in society. Shown by Percy’s calm tone and attitude in…
For my Aztec god project I choose to do the goddess of knowledge. Her name is Ainrna. She is very important to the Aztec students and they pray for her to do well in school. She represents the abundance in knowledge and is considered an idol for Aztec students. The Aztecs believe she resides in everyone, but if the students choose the path of superiority, arrogance, ignorance and apathy, she will leave them and not help the students in school. She wears a red dress with book patterns on it, she also holds a quill in her right hand and a book in her left hand. The dress shows that she is very intelligent and she is the goddess of knowledge. The quill shows her ability to grant people knowledge, while the book shows that everyone has a right…
3. A piece that is of an idealized form.(hint: the Greeks tended to do this in their sculpture)…
While excavating Knossos, Evans found fragments of female statues holding snakes ("Snake Goddess"). Up to today there is still confusion on whether the images of the Minoan goddess represent a single goddess or multiple goddesses with different functions ("Snake Goddess"). The goddess is naked from her neck down to the waist and past the waist, she wears a flounced skirt (Glotz). The goddess is above all the protector of fertility; the goddess spreads happiness around the world because she is the one who gives life to her children and feeds them with her breast (Glotz). There were several goddesses portrayed and one of them is the goddess of the rock (Glotz). The whole earth was subject to her; her sanctuaries included mountaintops, caves and rocks (Glotz). It is very interesting how the Minoan religion was focused on goddesses, and how well respected they…
Building: Palace Of Minos. Dates: 1700-1400 BC. Time period : Bronze Age. Location: Knossos,Crete. Civilization :The Minoans.…
“What the Snake Brings to the World” is a 2002 poem by the Canadian poet Lorna Crozier. The poem is free verse, with four stanzas of 6, 4, 4 and 9 lines respectively. The poem is riddled with Biblical allusions, with the “snake” being its focal point, making extensive comment on the nature and consequences of the aforementioned snake. A dominant reading of the poem outlines the duplicity of the nature of ‘evil’ and ‘sin’ and related consequences. An alternate reading of the poem conveys the idea of the human progression reflected by post-lapsarian linguistics. Finally, a resistant reading attacks the very nature, role and impacts of the Judaeo-Christian tradition, claiming it to be fault-laden.…
Okara recites his view of the spirit of Africa as a form of the Nature Goddess in the poem The Mystic Drum. Okara worships her to revive the spirit of Africa, and the way he seemed to be doing it is by being more and more close to the nature. This closeness can be found in most of the poems of this African poet Gabriel Okara. The Mystic Drum, The Call of The River Nun, The Snow Flakes Sail Gently Down, Moon in The Bucket, You Laughed and Laughed and Laughed are only a few of them. The nostalgic poet tries to summon and bring back the pre-colonized Africa and to bring back this lost spirit of Africa he mingles himself with the only unchanged element of the pre-colonial Africa: nature. Okara not only finds nature as a mode to revive the spirit of Africa but also a way to find one’s roots, one’s heredity, one’s true identity in the artificial world, and mostly the purpose of being a human. The poems of Okara satiate a reader’s mind with the warmth and blessing of the nature with all its beauty alongside.…