I’ve selected to conduct an analysis pertaining to Lion Hunt from the Place Complex Assurnasirpal. Lion Hunt from the Place Complex Assurnasirpal is believed to have been created by one single artist. The artist was said to have been helped by a plethora of assistants, some of the assistants even included that of the mighty king himself. It was alleged that the king at times intervened in the ornate carvings. The interventions included change of some details and imagery exclusivity. The Lion Hunt from the Place Complex Assurnasirpal masterpiece was created around 645 – 635 BC. The carvings were originally once decorated on the walls of the king’s palace located in Mesopotamia, Iraq, North Palace, Nineveh to be exact, according to history. …show more content…
Stylistic analysis is used to tie an artwork to a specific time, place, or artist. The stylistic analysis suits and is the most appropriate analysis for Lion Hunt from the Place Complex Assurnasirpal for several reasons. The Lion Hunt from the Place Complex Assurnasirpal was created BC… 645-635. The artwork formed sequences around the king’s palace. Mesopotamia, in ancient Assyria where the artist created the sculpture. In that particular era, it was quite natural to hold the king in high standards and regards. The carving gives a full representation of that era because it depicts the king lion-hunting. Lion-hunting, to the ancient culture of Assyria exemplified and was widely considered to be a cherished and respected sport of kings. The depiction symbolized the king’s ruling, honor, and dignity, as well as his duty to protect and fight for the people that he ruled. The reliefs illustrated what was believed to be the last great King of Assyria.
The artist responsible for the carvings were most likely a servant or someone who cherished the King greatly. The rhythm is consistently pitched in this work of art. Triumph and power is seamlessly conveyed to the audience in a ceremonial victory prevalent amongst depiction of kings during this time. This carving is also aligned with representation of authority prominent amongst rule and war-like
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
The Guanyin sculpture depicts a male, interpretable by his male chest, seating in a royal-ease pose. He has a crown, which has a person in the meditative position carved on it. That person could be Buddha. Underneath the crown, the hair looks as though it is nicely braided along the edges of the crown. The eyes are partially closed. There are two pieces of objects, perhaps used to depict jewelry, attached to
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
This sculpture is quite spectacular. According to the display plaque, the sculpture shows four events happening all at once. On the far left is St. Peter who has just cut off the ear of Malchus (the servant of the high priest and seated in front of St. Peter) is "sheathing" his sword. He seems to be very content with what he has just done, but then if you look closely at the right side of Malchus' head, you can see a hand holding his ear. That seems to be Ch...
The New Kingdom in ancient Egypt, from 1550 – 1070 BC, was a time of extraordinary wealth, power, and the continuation of the arts in the classic ancient Egyptian style. Characterized by the abstract and impersonal depiction of humans, along with the strength of the Egyptian Empire, the New Kingdom is considered the peak of power and prosperity in ancient Egypt. “Fragmentary lid from the coffin of Wadj-shemsi-su” is a piece created in this time period that was originally part of a portrait located on the top of the king’s coffin. Because the coffin would carry the king’s mummified body in his tomb, the portrait depicts the pharaoh as being prepared for the Underworld, as well as being the ideal body for the spirit of the king to flow through. The objective of the coffin’s portrait is also to convey the power of the kingdom, putting emphasis on the king’s image and the immense wealth that accompanies him. In addition to the piece’s function as a coffin, “Fragmentary lid from the coffin of Wadj-shemsi-su” embodies the strength and wealth of the New Kingdom through the piece’s human face, use of bright colors, and geometric detailing.
...with similar characteristics to the bearded man in the other images. This distinct bearding is seen on two sculptures (61, 63) one of which was scaled up to be bigger than real men, this also indicates that the man held some special status, either king or priest.
Two main devices used in Egyptian art from the fourth dynasty, that also help classify it, are a strive for naturalism and the use of sculpture in the round. In addition to the large burial monuments being built, portraiture became quite popular at this time in history. Paintings featuring humans used their own form of "sculpture in the round" by painting in ...
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
The first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
In the text it states “The hunters took the lion’s body and cut off the tail, paws,and mane. They gave these to Alleer-Manguak’s family as a token
This depiction of Nebamun hunting in the marshes dates to around the late 18th dynasty . Its formal qualities depict that of an Egyptian scribe on an outing with his family, while utilising proportion to emphasise the Egyptian values and beliefs of the day. Further analysis reveals strong iconographic meaning, particularily in relation to the habitat surrounding Nebamun and his family. When studying the piece in relation to social context, we see how death and the Afterlife were an essential part of Egyptian life as a whole.
...olour scheme used showed how much value was engaged in the style and material that were presented in the painting. In evaluating the chapter comparing to the painting the author felt that the beginning of the era the skill level was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, the significance of the applicability of the chapter to the fresco painting changed as a deposit of relations of the artist and art they created with there talent, style, and skills.
Lehner, Mark. "The Sphinx: Who built it, And why?." Archaeology 47, no. 5 (1994): 30-47.
The poet in her writing used the language tools of symbolism, images, metaphor and nature to illustrate her poetic ideas. The writer, used the word ‘’Hunters’’ in the first line which indicates an imagery of man in existence, example
Richardson, Seth. "An Assyrian Garden of Ancestors: Room I, Northwest Palace, Kalhu." State Archives of Assyria Bulletin 13 (1999): 145-216.