Using herself and her children (Son, Kell and Daughter, Arella) as the focal point of the painting, it captures a maternal, motherhood like feeling by adding abstract line contours and detail to the painting setting off a free motion throughout the composition. The texture and tone used for the figures are soft, light and pale. Detailed patterns and abstract line work are used in the foreground to emphasize the figures.…
Stelae were most usually used for funerary or commemorative purposes; although some were also used as territorial markers The Stele of Prince Ankh-Nef-Nebu was used as a funerary stele as inferred from the location it was found and the band of stars framing the top part of the stele. The Egyptians believed that the stars were inhabited by the dead. Thus, stars were used as a common decoration for coffins or funerary inscriptions. The stele encompasses mainly smooth lines. It makes use of repetitive patterns on the top and bottom of the image.…
Marble stele (grave marker) of a youth and little girl with capital and finial in the form of a sphinx, the most complete grave monument of its type to have survived from the Archaic period. 1 The monument is made with marble; the total height is 13 feet and 10 11/16 inches.…
On the bottom of the piece are four men; two on each side that mirror each other. They all hold what seem to be spears in one hand and a scepter in the other. They are all modeled in the classic Egyptian style, where they seem to be standing in unrealistic poses; most hold their scepters in a way that look like they would be appearing in front of them, but they are depicted being held behind their back. Throughout the rest of the piece are hieroglyphics, and in the top center appears to be another image of a man sitting; this area has taken damage, so it is impossible to imagine what the rest of the image depicted.…
The laws and subsequent punishments on the stele, written in cuneiform, take up a large portion of the stele, yet the narrative image at the top holds far more importance. This is indicated with its placement at the top (rather than the middle or the bottom.) It depicts Hammurabi in orant pose receiving the laws directly from Shamash, god of justice. This image served a two-fold purpose: underscoring and enhancing Hammurabi’s authority as a Priest King regardless of literacy, and as a reminder of his power. Use of hieratic scale indicates that Hammurabi is almost as important as Shamash.…
This stele shows The King and his victorious troops celebrating in triumph over the Lullubi people. The king in this picture is taller and is depicted more important. The book says he is wearing a horned helmet and this signifies his divinity. It also says this is the first time a king is depicted as a god in Mesopotamian art. They portray the king in this stele as a god and a leader with the best and most disciplined people that appear to be worshipping him.…
Stele of Hammurabi is a sculpture that was commissioned by the king of Babylon, Hammurabi (c. 1792-1750 BCE). The monument is 7.4 ft. tall made of diorite rocks. The Hammurabi stele was discovered in 1901, by a French mission led by De Morgan at Shush in Iran. The Code of Hammurabi stele was engraved on stone and clay tablets. The monument is basically a glossy, black and a very tough stone. This stele represents the ancient Mesopotamian in the old Babylonian period. It was built to be viewed for its detailed carving and intellectual content. Today, it is located in Paris at the Louvre museum…
The rest of the story is missing. It is unknown to where the rest of the story is or if it just wasn’t written at all. The stele was put up around the time of the pharaoh Thutmosis IV. He lived around the time of 1400 B.C. (www.ancientegypt.co.uk). So people believe that Thutmosis IV was the prince that fell asleep between the paw. More reasons that leads to belief that Thutmosis IV to being the prince is that he cleared the sand around the Sphinx and became pharaoh of all of Egypt (www.guardians.net)…
This piece was especially interesting due to the canvas it was painted on. The carvings on the masorite looked almost like a thumbprint. At the bottom center and top center there are fingers reaching towards the center the of the painting and a large trunk of a tree behind them. Sitting in the palm of the bottom hand there is a person sitting in a fetal position. At the far left of the piece there seems to be a silver totem like structure surrounded by a number of small blue swirls. At the opposite end there are various nude women raising…
Although the Blue Woman in Black Chair and Untitled (Large Man) were both sculptures, they were made in different ways with different messages to express to its viewers. These works of art used lines, space, realism, color, and mold to accomplish separate goals. Segal’s goal was to display a woman is deep sadness, and Claassen’s goal was to display a magnificent huge…
The Funerary Stela was created in the twentieth Dynasty— circa 1190 to 1075 BCE in Aniba, Nubia, Egypt. The piece was constructed out of painted sandstone for the tomb of Mery, a man who oversaw the King’s treasury. An Egyptian story about the sun god Ra as well as hieroglyphics of a hymn to Ra is depicted on the relief. The work of art, the Funerary Stela, represents the Egyptians fascination with their many gods and the afterlife.…
The mood shifts from the paintings and back to the sculpture, the images of barbarity return but the savagery is gone from the descriptions. Instead the focus is more on an interpretation and examination of the carving and its sculptor; this thing ill-hewn, and hardly seen did touch me', the viewer is given a divergent view of the object. While it is a thing of savagery and ineptitude it can still convey a sense of feelings and human emotion, far greater than that of…
The subjects featured in the artwork are Pharaoh Menkaure and Queen Khamerernebty. At first glance, the part of the sculpture that seems to stand out the most are the heads of the pharaoh and the queen. The faces and headdress appear more detailed than the rest of their bodies and have a sharper quality to them than the smoothness of the bodies. Of course, seeing the image at a different angle or under a different light could potentially make other areas of the sculpture stand out more.…
These beasts, commonly found in ancient Near Eastern art, illustrated supernatural spirits that would be either harmful or protective. The function of the Lamassu was to “protect the king from evil and to impress all those who entered” (90). These creatures represent more than just the protection of the king but also the divineness that they exhibit. The human heads are crowned and have horned caps, the headgear of deities in the ancient Near East. From the humanistic features that lie on their faces to their styled beards, they powerfully portray King Ashurnasirpal how he is depicted throughout the walls of the palace.…
The representation of figures on Greek grave relief is common for the Classical period. By looking at this work of art, one may not realize all the underlying beauty and mystery within the meanings foreshadowed in the relief sculpted into the stone. This Grecian relief carving of a “Grave Stele of a Little Girl” represents a sweet and solemn young child who looks down at her two pet birds resembling doves that embrace her, welcoming to another life of peace, purity, and innocence. This Greek piece of art is simple, but also ideal by making depictions look timeless.…