When comparing two relatively similar artistic objects from the same culture, there will invariably be similarities and differences between the two pieces. This is the case when analyzing a Dou Vessel from late 5th to early 4th century BCE China as well as a Zun Vessel from 13th century BCE. Both objects have similar purposes as well as certain aspects of design. However, they differ on other points of design and are also dramatically different in size. The parallels and distinctions of the two pieces are reflective of the cultural disparities and different methods of manufacturing during the two eras of creation.
This particular Zun vessel was introduced during the Shang dynasties’ rule over China. Its production took place in close temporal proximity to the start of the Late Shang period as well as the life of Lady Fu Hao, a wife of King Wu Ding. (Thorp, p. 77) This information offers context to its function as well as design. The Zun was a decorative object that also served a functional utility purpose, similar to most art pieces of the time. The Zun’s specific purpose was to store and serve wine. (Thorp, p. 73) This function resembles the primary purpose of the Dou Vessel. The Dou piece was produced during the Eastern Zhou period, specifically in the early warring states period. The Dou was a food server of the ritual variety, with a lid that could be removed. Both piece’s main purpose were to theoretically serve some type of nourishment to the wealthy elite. One can discern that the patrons were wealthy because of the material used to create the pieces of art. Both objects are bronze sculptures, which signified rank and status through the duration of early Chinese history. (Thorp, p. 61) During the Shang period, these scul...
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...was created with an innovative production method for bronze sculptures. (Lee, p. 57) The advancements in technology could explain the massive differences in size, as well as the level of intricacy in regards to the motifs on both sculptures.
By analyzing the differences between the Zun and Dou vessel, one is able to glean insight into the Shang and Zhou cultures. The two dynasties ruled in a similar manner, and were consumed with the idea of prestige and status. They were interested in maintaining communication with ancestors as a sign of respect. This is evident through the utilization and application of the two objects. Both felt that art, specifically bronze, would indicate wealth and power for generations to come. This is why they played such a prominent role in tombs and why they exist today to examine and analyze, providing a glimpse of ancient Chinese culture
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
We find that, in conclusion, that these pieces are very similar in many ways. They are both originally created in the same style and time period. They are Hellenistic and dramatic, although in their own, individualistic way. Each sculpture was created in different mediums and have different stories. These are both very individualistic pieces of Greco/Roman sculpture that has influenced many artists throughout time and will
There are several differences between the sculpture of Menkaure and Khamerernebty, and the sculpture of Akhenaten and Nefertiti.
The Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
Also, the sculpture named Kroisos (Kouros from Anavysos). ca. 540-525 BCE. Compare with the Kouros, both of them are freestanding, painted sculpture. Kroisos has a greater body than Kouros, and I can image that the flesh, sinew and bones inside the stone. And as for Kroisos’s facial expression is more naturalistic than Kouros. His lips are drawn up that becomes an artificial smile, I mean the archaic smile, but not reflect in his
The pair of bronze vessels, the Zun and the Gui, being analyzed has many similarities and differences. The continuation as well as changes in function and style of bronze vessels from Shang to Zhou is evident through comparing and contrasting the Zun vessel and the Gui vessel.
Beginning as early as the Shang dynasty, we have found evidence of the Chinese honoring and paying respect to their ancestors. The process of divination used turtle carapace or ox scapula in order to find out if their ancestors wanted certain rituals or sacrifices done. Evidence of honoring the deceased has also been found in tombs during the Shang dynasty. Lady Fu Hao’s tomb is a prime example of this, since hundreds of artifacts were buried with her, obviously denoting respect for the dead or that t...
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Chang, Kwang-chih 1968 The Archeology of Ancient China Yale University Press, New Haven & London
Japanese art has been practiced since 4,000 BC, otherwise known as the Jomon period. The Jomon is particularly known for creating the first forms of Japanese pottery. Although the Jomon period was thought to produce relatively simple artwork, the people of the Jomon were also the first to show the evolution of Japanese dolls. Essentially, this gradual step towards this treasure form of art was the Dogu, humanoid figures. Jomon period art gradually advanced throughout time with from the first creation of simple pottery, to storage vessels, and lastly to Dogu. Mainly, the technologies used during this time period consisted of clay, while the composition also consisted of simplistic designs such as coiling. This Japanese time period demonstrates the true beginning of the tr...
When walking around a city, you may notice that the architecture and art look similar to other works. Many of these designs have changed along the course of history and time whilst others have not. The designs that many people still see in society and day to day living is from two of the many cultures of the old civilizations, Roman and Islamic. The art and architecture forms from the Islamic and Roman cultures have many comparisons and contrasts between them. They, the Islamic and Roman nations, have both adopted from other cultures and have made their own discoveries in the art and architecture worlds. The Roman and Islamic architecture and art vary drastically from each other and yet have varying comparisons between the two.
In an article that takes a look at the modernism of Rodin’s work, it is stated that, “Some saw the Age of Bronze as merely one more academic nude, and his subsequent exploration of the expressivity of the human form has been dismissed as little more than pandering to melodrama and sentiment… literature on the sculptor caricatured nineteenth-century sculpture as a wasteland in which Rodin was the solitary oasis, and he was often held up as the only sculptor of any interest comparable to the rapid advances of modern painting” (Getsy 132). Rodin’s work was not interesting simply because he was the only “interesting” sculptor; Rodin’s work was interesting because he had modernized and turned to a new direction. When Rodin created The Age of Bronze in 1876, many critized him for “cheating” by casting his sculpture from a live model; however, after more research and Rodin himself providing evidence of his model, it was clear that this sculpture was in fact not cast from a live model. In order to achieve this level of modernism Rodin had to cast aside all the traditional styles and ideas that had been used in sculpting. This is shown in the article when the author states that Rodin, “Employed and adapted a sophisticated and subtle formal language of the sculptural body.
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground
The Artifacts that have been found in The Shang Tomb such as the disc, the chariot etc. it represented a strong government. Obviously, if you were buried with the vessels you were very high in power. The Vessels were often given to thank military officials, or people that were high in power and had done something very good for the emperor. These were very rare.