Victory Stele Of Naram-Sin Analysis
Victory stele of Naram-sin
This paper will compare art from the Early Dynastic period of warring city states with art of the Akkadian Empire in order to see whether there are any recognizable patterns in representation that show the developing political ideologies, identities and intentions of the ruling powers of the times. It is my contention that much art was used as propaganda, probably to an increasing degree, and that this stimulate a new mastery of realism and composition. Propaganda has been defined as “the spreading of ideas, information, or rumor for the purpose of helping or hindering an institution, cause or person.”[1] As Toby Clark in his book Art and Propaganda in the Twentieth Century has pointed out, since the First World War the word “propaganda” has taken on increasingly negative connotations, and has been associated with closed and totalitarian governments. [2] Those, however, who use or make art for its propaganda potential do not look at their own art, or the art they use, in this way. Leon Trotsky, in Literature and Revolution, stated that: “Our Marxist conception of the objective social dependence and social utility of art, when translated into the language of politics, does not at all mean a desire to dominate art by means of decrees and orders” …show more content…
This is interpreted as the cultic meeting of a man and woman, is often connected to scenes of the defense of domestic animals against beasts of prey.[25] The figures in the round were statuettes of men and women praying, and were votive objects dedicated in
This paper will compare art from the Early Dynastic period of warring city states with art of the Akkadian Empire in order to see whether there are any recognizable patterns in representation that show the developing political ideologies, identities and intentions of the ruling powers of the times. It is my contention that much art was used as propaganda, probably to an increasing degree, and that this stimulate a new mastery of realism and composition. Propaganda has been defined as “the spreading of ideas, information, or rumor for the purpose of helping or hindering an institution, cause or person.”[1] As Toby Clark in his book Art and Propaganda in the Twentieth Century has pointed out, since the First World War the word “propaganda” has taken on increasingly negative connotations, and has been associated with closed and totalitarian governments. [2] Those, however, who use or make art for its propaganda potential do not look at their own art, or the art they use, in this way. Leon Trotsky, in Literature and Revolution, stated that: “Our Marxist conception of the objective social dependence and social utility of art, when translated into the language of politics, does not at all mean a desire to dominate art by means of decrees and orders” …show more content…
This is interpreted as the cultic meeting of a man and woman, is often connected to scenes of the defense of domestic animals against beasts of prey.[25] The figures in the round were statuettes of men and women praying, and were votive objects dedicated in