The Moche civilization was a pre-Inca culture, settled on the north coast of Peru, also knowing as a Mochicas culture. (Historia Universal, 2011). Moche culture were recognized as “Los maestros artesanos" meaning "The master craftsmen" and "grandes constructores de ciudades" meaning “The great builders of cities," because their great skills to create beautiful pottery describing the daily life, religious and beliefs. (Historia Universal, 2011). Todays days what we have of the Moche culture is the value anthropological work display in some of the Peruvian Museum because this ancient group disappearance around 600 to 700 years is unknown, but could have been started by a drought of 30 years in the late sixth century followed by a period of flooding caused by bad weather conditions of the time. (Historia Universal, 2011)
Today, we have the advantage to comparing different cultures and their works. Many experts, dedicated they life’s and expend a lot of time excavating to have quality references to compered one Ancient culture with others, according with the web site Historiauniversal.com Moche art work is value as culture and can be compared with the Greek ceramics because they were motived for animals, plants, scenes of everyday life and mythology Moche Mochicas "Gods", among others (Historia Universal, 2011).
Figure 1). (Np). http://www.liveauctioneers.com/item/9224665
the Moche pottery (figure 1) was mainly red or, exceptionally orange, and in some cases, black smoke, the Moche pottery is one of the most diverse in the world because they were use molds to allowed the mass production of certain forms. But despite this, there was great variation in form and theme of the ceramics which represented the...
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Donnan,CB. (2004). Moche Portraits from Ancient Peru. University of Texas Press, P.O. Box 7819, Austing, TX, 78713-7819
Donnan,CB. (2004). How Portraits Were Made. Moche Portraits from Ancient Peru (pp. 21, 32, 36, 37,38,39). Texas: University of Texas Press
Donnan,CB. (2004). Headdresses. Moche Portraits from Ancient Peru (pp.43, 47, 58, 59). Texas: University of Texas Press
Donnan,CB. (2004). Ornamentation. Moche Portraits from Ancient Peru (pp.77,78,83,85). Texas: University of Texas Press
Maria Victoria Rodriguez (July 1, 2009). Perú: el señor de Sipan. Retrieved from
http://www.diariodelviajero.com/america/peru-el-senor-de-sipan
Stokstad, M. Art History (3th Ed.). Upper Saddle River, NY: Pearson.
(Np). (figure 1). A Superb Pre-columbian Moche IV Portrait Vassel: Lot 215A.
Retrieved from http://www.liveauctioneers.com/item/9224665
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.
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.
In conclusion, the portrayal of ancient rulers is dependent not only on the style of art popular during the era, but also on the evolution of the political climate. The portrayal of Menkaure, a pharaoh of the Old Kingdom in ancient Egypt, is of complete authority, control and power. His face does not show concern or grief over his people, because he is not challenged politically, the image of control coincides with his sole power over the kingdom. While the depiction of Alexander the Great, in ancient Greek coins is deified. Alexander’s leadership ended with world domination; therefore, his deified portrayal on monetary funds is particularly appropriate. By contrast, Philip the Arab’s portrait sculpture almost resembles a present day photograph with its capture of fleeting expression. This expression of anxiety and sadness is a representation of the political turmoil during the time period of his rule. Taking the progress of ancient cultures into account, how does the art of sculpting improve in the manipulation of the medium used?
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 4: Art of the Americas: 14th Century to the Present. Retrieved from myeclassonline.com
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 ...
The Editors of Encyclopædia Britannica. "Luminism (painting)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 31 Mar. 2014.
The Olmecs were farmers, traders, artists… innovators. The Olmec culture first emerged in the Isthmus region of Tehuantepec. The site of San Lorenzo, which sits on the Coatzacoalcos River, sheds the most light on this mysterious culture. During this time period, The Initail Formative, food surplus sparked an increase in population and career specialization. With the increase of specialization and sedentism came the environment for complex culture.
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
In terms of agriculture, Moche and Mayan civilizations were similar in that they both had water management systems that would help them grow the crops more efficiently; however, since agricultural styles were dependent on the landscapes and the climate of the region, Moche and Mayan had different techniques of growing their crops, as well as irrigation system, which Moche had more complexed ones. Moche irrigation system was surely “complex...requiring constant maintenance, which funneled runoff from the Andes into fields,” since the Moche civilization contained thirteen river valleys and dynamic landscapes including the Andes mountains, that they required an extensive irrigation system. Rainfalls were extreme, that it occasionally brought drought and
Gardner, Helen, and Fred S. Kleiner. "Chapter 1: South and South East Asia Before 1200." Gardner's Art through the Ages: Non-western Perspectives. Boston: Wadsworth/Cengage Learning, 2010. 1-31. Print.
The Olmecs are the earliest known Mesoamerican civilization. Around 1200 B.C. the Olmecs originated as a primitive people living and farming on the shores of Mexico (Stanton 91). Soon, however, they began to build cities such as San Lorenzo, La Venta, and Monte Alban. These “cities” were religious centers where people gathered to worship, and were not populated (Stanton 91). The first of these centers, San Lorenzo, was built c. 1150 B.C., on a flat topped, man-made mountain. It was mysteriously abandoned 200 years later (Stanton 92-93). La Venta, built between 1000 and 600 B.C., sat on an island in a swamp (Stanton 93). Later, around 500 B.C., Monte Alban, which was used as a religious center even after the Olmecs faded, was built on an immense mountain (Stanton 93). The cities were made up of temples and plazas, and decorated by monumental stone heads, which weighed up to 50 tons (Stanton 93)! These heads probably represented their early kings and had distinct helmets (Kingfisher 32). It is incredible how the Olmec people transported the stone from the distant mountains to La Venta, near the shore, without the aid of work animals or carts. It appears that the Olmecs did this grueling work for their gods willingly, as there is no evidence of forced labor (Stanton 93). The Olmecs probably worshipped the jaguar, as it appears so often in their artwork. There are also many e...
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
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 artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
Teeter, E. Egyptian Art. Art Institute of Chicago Museum Studies, Vol. 20, No. 1 Ancient Art at The Art Institute of Chicago (1994), pp. 14-31