The Statue of Khasekhemwy is a carved in-the-round sculpture made from painted limestone. It stands smaller than life size at about two feet in height. The sculpture represents Pharaoh Khasekhemwy in a straight, upright and frontal pose on the throne. Khasekhemwy places his right arm on his lap, while his left arm embraces his body. Unfortunately, both of his hands are destroyed. Covered by a tight-fitting robe, the subject wears a tall and conical hat above his head. Pharaoh Khasekhemwy sits on a low-backed throne with incised figures on the either sides of his seat. These figures illustrate people lying on the ground in different positions, which are possibly dead bodies. On the front side of the base of the statue, the ruler’s name is written in ancient …show more content…
He sits firmly following the horizontal axis, which indicates stasis. His head, arms, back, and legs are proportional to the rest of his body. This artwork presents Khasekhemwy as a slender male with a little bit of musculature showing on the shoulders. Looking closer at the face, Khasekhemwy’s eyelids are carved deeply into his face emphasizing his large eyes with absent pupils. His nose is chipped off. His lips are also carved intensely to present the linear, but full lips. His large eyes without pupils and his lips without a smile, Khasekhemwy expresses calm, neutral and emotionless. The Statue of Khasekhemwy is produced as a rectangular three-dimensional form to create the sitting posture of the subject. The sculpture’s surface is extremely smooth. It is painted completely in yellow. Under the effect of light, this sculpture turns out interesting. When the light shines on the sculpture, the deeply carved eyelids and protruding lips seem larger. The upper half-body of the statue becomes brighter, especially the headwear, the face and the shoulders. Conversely, there is a shadow on one side of the neck and the lower-half body becomes
Yuny and Renenutet is a two figure statue. It’s a double portrait with a frontal pose. It’s a relief sculpture with a male and female figure. Yuny and Renenutet are husband and wife. They are sitting down together on a bench. It’s a beach that highlights their bodies’ curves emphasizing their wealth. Both figures have nontraditional customs, but a more a fashionable custom. The chair that Yuny and Renenutet are seated is elegantly decorated. On the back of the chair, we see two scenes divided into two layers with inscription around it.
Carved from alabaster the over-life-sized statue shows a idealized depiction of ruler Khafre sitting eloquently in his throne. Riddled with indicative symbols and motifs the written language of the ancient Egyptians allows for historian to interoperate the meanings and purpose of the sculpture, and decipher the statements of divinity and the king power left behind by this ancient people. This funerary statue represents Khafre’s eternity a well as utilizing the expensive material as a testament of his importance and
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.
The Egyptians created Ramesses’ statue 1279-1212 B.C. using granodiorite. The statue is currently being exhibited at the Museum of Fine Arts Houston. Its dimensions withouts a base are 59 3/4 x 23 1/2 x 30 inches (seems bigger than life-size). One must look at the statue from various sides in order to see its entirety. Ramesses II, known also as Ramesses the Great, ruled Egypt for over sixty years. there are thousands of statues made in his honor to proclaim his power and divinity.
The Colossal Statue of King Tuthankhamun and the Lamassu are amazing works of art. Of the eight works assigned, these two particularly caught my eye. The two pieces, though very different, have many similarities. In this paper, I will discuss these similarities and differences of style in terms of their overall shape, proportions, and individual parts.
The original Laocoön statue was constructed by Athanadoros, Hagesander, Polydoros from Rhodes in the Hellenistic era. The large marble group that we now know as Laocoön Group was unearthed in 1506 CE, currently resides in the Vatican and may be a Roman copy of the famous Greek sculpture that Pliny the Elder described. , If the statue is a Roman copy, it was most likely commissioned by Augustus as a public works project to celebrate the fall of Troy that eventually led to the founding of Rome. However, if the marble statue is the original that was constructed by the sculptors from Rhodes, then the reasons for its construction could be as shrouded in mystery as its travels from Titus’s palace to Rome. Nonetheless, the origins of the statue
King Menkaure and Queen Khamerenebty ruled during the Fourth Dynasty of the Old Kingdom in ancient Egypt, circa 2533-2515 BCE. The 4th Dynasty is associated with the Great Pyramids of Giza. The increasing wealth of the ruling families of the period is reflected in their large, elaborate royal portraits. The statue of King Menkaure and his wife, standing 4’8” high, was found in the Valley Temple of the pyramid of Menkaure at Giza. It is a good example of Old Kingdom royal tomb sculpture, although it is the first known work depicting a couple. The pair statue of Menkaure and Khamerenebty exemplifies both dignity and marital affection.
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.
Although Eichendorff’s story displays religious elements, the pious facets take on a different form than in Psyche. In “The Marble Statue”, Sunday remains a holy day where evil subsides. God and Satan manifest into the metaphysical through characters, settings, and motifs. Fortunato is a pure character directing Florio towards the path of the righteous man while Donati is a sinister man leading the boy into temptation. The seductress is the embodiment of evil while Bianca is the good. The aspect of religion is demonstrated in a more direct manner in Psyche. The artist abandons a life of art to become a brethren of the covenant where it is proclaimed the Goddess of Art is “a witch who carries towards vanity, towards earthly pleasure”. The good and evil is left to interpretation in “The Marble Statue” while religion in Andersen's tales contains a straightforward portrayal of faith and sin.
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.
First off I would like to tell as to why I chose this object; this amazing structure. I know I chose a pretty easy object to do a research paper over as well as probably an over used one at that. But I tried searching for just the best object and nothing stood out to me, everything was minuscule compared to this structure. It is the object of United States of America’s freedom.
The large kneeling statue of Hatshepsut (~1470 BCE), (Figure 3-21 [pg. 70] in “Art Through the Ages”) depicts the female pharaoh Hatshepsut, seated on her knees with a jar in each hand.
...or historical records and scribing. In this manner, each section showcased the idea of purpose behind each Egyptian artifact; while all items are very ornate and artful, this separation proves the Egyptians lack of embodying “art” so much as embellished items of practicality and function.
This breaks all of our tradition in sculpture. On the one hand the simplification and distortion of body and limb seem extremely daring departures from the tradition which few do; on the other hand, this is reminiscent of the earliest sculpture ever produced, which is far from a perfect balance. Thus he has created a new form; that of pure laziness.
Lesko, Barbara, "Queen Khamerernebty II and Her Sculpture," in Ancient Egyptian and Mediterranean Studies, (Providence, Rhode Island, 1998), 158.