Introduction This paper will analyze and compare the Egyptian Standing Figure of Osiris with Egyptian Mummy Coffin of Pedusiri, visual elements of Ancient and Medieval Art and Architecture works from the collection of the Milwaukee Art Museum. By comparing and contrasting these two works, we will be able to see the salient parts of each of them more clearly and can better understand the relationship between their periods, cultures, or artists. This comparison will also reveal how these two cultures view the human anatomy and human spirit in different ways.
Akhenaten or Amenhotep IV made some radical changes to the Egyptian Empire during the 18th Dynasty. Many modern historians see him as quite significant for his time because of his revolutionary views on changing the Capitol from Thebes, his new artistic style and his change to the religion. However, for his time, there is evidence that his radical change was not fully supported in the kingdom and that because he didn’t have the support, his legacy died with him along with his lineage and name. Although he was a significant person, his foreign affairs was damaging due to Akhenaten neglecting his duties.
There are many items related to Hatshepsut are represented in Metropolitan Museum of Art: Hatshepsut in a Devotional Attitude, Large Kneeling Statue of Hatshepsut and others, but Sphinx of Hatshepsut has special mystery and meaning for me. Head of King Amenmesse Continuing my journey through the Egyptian department, I found that my attention was taken by Head of King Amenmesse. It is only part of the full statue with missing piece of left ear and headdress, but even this is enough to be attracted by ideal work of sculptor. Absolutely natural facial lines give a sense of presence.
A venerated ancient Egyptian figure, Amun, expressed his belief in Hatshepsut through an inscription on a wall at Deir el-Bahri. “Welcome my sweet daughter, my favourite, the King of Upper and Lower Egypt, Maatkare, Hatshepsut Thou art King, taking possession of the Two Lands” (de Masson, 2012.) The confidence instilled by Amun allowed Hatshepsut to gain political advantage and further transform Egypt. Architecturally, Hatshepsut erected two obelisks, structures associated with great power and ability. Although the dominant perspective of the time has been erased, the cultural remains of Hatshepsut still seen today project a positive image.
The style of the earlier temples at Deir el-Bahri had some influence in Hatshepsut’s designs and plans, but her construction surpassed both in architecture and in its beautiful carved arts. Hatshepsut built such advanced buildings such as the temple at Deir el-Bahri that later Pharaohs made similar structures like hers. (Masson, L (2012). Hashepsut. argues that “the style of architecture of Hatshepsut’s reign also influenced the building styles of later pharaohs of the new kingdom such as Ramses
The practice of religion and the worship of Gods and Goddesses had a significant role on everyday life in Ancient Egypt. ¨The Powerful One¨, ¨The Eye of Ra¨, the Goddess of healing and protection, as well as war and destruction, no matter what you know her for, there is no doubt that Sekhmet was powerful. Sekhmet's name came from the root Sekhem which means to be strong and mighty, which makes sense. She was a woman with a lioness head, in Ancient Egypt lions were a symbol of protection and defeating chaos. She often protected the current Pharaoh from their enemies, and led them in warfare, as well as protected people.
Egypt is home to one of the Seven Wonders of the World and is known by all to be the home of colossal, majestic monuments. But, as we pose with our “peace signs” in front of this ancient stone, we fail to realize their intended purpose. Today, the most famous remaining vestiges of this concept reside in the state temples found in modern day Thebes at the archaeological sites of Luxor and Karnak. These are the two best-preserved and largest state temples in Egypt. They are fairly recent in relation to ancient Egypt’s long history, in that they were built and used during the New Kingdom.
Over the centuries people have remembered me for the grand, imposing buildings and statues constructed to record my achievements as a warrior, administrator and protector of my people. During my long reign as Pharaoh, I had become the legendary figure I was destined to be and left behind a great legacy as the builder of the countless monuments built in Egypt including my capital city, Pi-Ramesses. I built on an enormous scale to ensure my legacy would last the ravages of time. Marston correctly states that eight more Pharaoh’s took my name although the glory of my name was lost under their rule. It was devastating to watch my government come to an end and my empire that I spent decades building and creating had been lost, (Marston, 1996, p.14).
The Great Royal Queen Nefertiti is one of the most notable queens of Egyptian history. She was made famous from the discovery of her limestone bust, now being held in the Altes Museum in Berlin. Not only was she known throughout the land for her beauty, but also for the elevated status she held as Queen. Together with her husband, the Pharaoh Akhenaten, they established a radical change to Egypt’s art style and religion.
Portraiture is important for all because it has the ability to draw the viewer into a different dimension, perhaps being inside the artist’s mind or into the setting of the artwork. Artists possess this power by skilfully using manipulation of various elements of design and working them into the piece in a way that all the elements fit together in a beautifully abstract puzzle. Frida Kahlo’s ‘Self-Portrait with Thorn Necklace and Hummingbird’ from 1940 and ‘Janet Laurence’, by John Beard made in 2007 are to be deconstructed and compared in this essay. Mexico’s nationally recognized Kahlo was a woman of pain, experiencing many accidents that resulted in Kahlo being confined to her house, undergoing 30 operations and painting more from the growing
Through this work, he was trying to express to his people with Naram-Sin at the helm of the monarchy that there was no possible way that they could ever be defeated or taken over. This piece was used to convey the trust and hope that the people should’ve had in their ruler, this sculpture expressed the great supremacy of Naram-Sin and the discipline of the Akkadians beneath him. He was resilient enough to conquer these barbaric and chaotic people and this showed his fierceness to the Akkadians. With this defeat, it is believed that he subjected them to life as slaves and placed them beneath society just as they were displayed placed beneath him in the relief
The two gems that I will think about and break down are, the representations of Federico da Montefeltro and his better half Battista Sforza, c. 1474, and the pictures of Agnelo Doni and Maddalena Strozzi, c. 1506. Both of the sketches were done in oil on wood panels. The representations of Federico da Montefeltro and Battista Sforza were made by an Italian artist, Piero della Francesca.
Throughout history, people have always shown a fascination with faces and therefore portrait representation. The depiction of an individual likeness is about identification but is also a record of an interaction between an artist and model. Portraits are constructions of identity that serve a range of functions such as expressing power and declaring status. Whether for reasons of vanity or record keeping the genre of portraiture has continued to grow in popularity since the beginning of time, but our motivations for creating these portraits as well as style of execution have transformed immensely.
They treated sculptors were the important artists in Egypt. In their art, mostly human, symbols and godlike attributes were combined together. The wall paintings of Egypt were protected by the layer of varnish. In the period of King Nebuchadnezzar II, the Babylonian artists were flourished and Ishtar gate was considered as one of the Seven Wonders of the World.
Even in relief sculptures, it is as if the figures want to escape the confines of their base. Sculpture in the round or freestanding sculpture literally demands movements. It is meant to be seen from all side, and it viewer must move around it (Klein, 278). Giambologna sculpture entitled (Capture of the Sabine Women) (fig.12-5 and fig.12-6 in the book).
