Art History: Prehistory To The Middle Ages Assignment 422105

Hum1001art History Prehistory To The Middle Agesw2 Assignment 2explo

Assignment Instructions

Explore the art and architecture of the Ancient Near East (Mesopotamia) and the Art from the Ancient Aegean. For each region, select three examples of artwork. For each example, provide the title, date, place of origin, a detailed description, and discuss its historical value. Additionally, analyze how each piece supports or challenges the statement about the nature of art from that region: For the Ancient Near East, "It has been suggested that the art from this region often contains elements that can be seen as fearsome, militant, and/or political in nature." For the Ancient Aegean, "It has been suggested that the art from this region often contains elements that can be seen as harmonious, exuberant, and non-threatening."

Paper For Above instruction

The art and architecture of the Ancient Near East and the Aegean civilization reveal contrasting themes and societal values, which are reflected in their artistic expressions. Analyzing specific artworks from these regions underscores the nature of their cultural identity and societal construction, either aligning with or challenging prevailing assumptions about their artistic character.

Starting with the Ancient Near East, the civilization is renowned for its militaristic and politically charged art. One exemplary piece is the Assyrian reliefs from the Lion Hunt of Ashurbanipal (c. 645–635 BCE). This carved stone relief, originated in Assyria and discovered in Nineveh, displays a dramatic hunting scene. The detailed depiction of the king in combat with ferocious lions demonstrates the assertive power of the ruler, emphasizing dominance over nature and enemies. The detailed, dynamic composition with intense expressions and aggressive postures underlines the militaristic and fearsome aspect of Near Eastern art, reinforcing the idea that this art was often designed to project strength, authority, and intimidation.

Another example is the Gates of Ishtar in Babylon (6th century BCE). These imposing glazed brick portals depict mythological creatures and deities, featuring formidable images that serve both a protective and intimidating function. The fierce lion and dragon motifs symbolize royal power and divine authority, emphasizing the politics and religion intertwined in their art. This supports the statement that Near Eastern art often incorporates militant and political elements by illustrating divine power and sovereignty through fearsome imagery.

A third example is the Stele of Hammurabi (c. 1780 BCE), which features the code of laws inscribed below an image of Hammurabi receiving authority from Shamash, the sun god. The relief's commanding imagery serves a legal and political function, emphasizing justice as divinely sanctioned. The authoritative posture of Hammurabi, combined with divine intervention, highlights the political and militant themes prominent in Near Eastern art, aimed at reinforcing law, order, and state authority.

In contrast, Aegean art exemplifies a more harmonious, exuberant, and non-threatening aesthetic, reflecting different social and cultural priorities. A prime example is the Dolphin Fresco from the Palace of Knossos (c. 1450 BCE). This vivid mural depicts lively dolphins swimming amidst lush aquatic plants, characterized by its fluid lines and bright coloration. The scene exudes a sense of harmony with nature, emphasizing beauty, vitality, and the enjoyment of life, which aligns with the idea that Aegean art often reflects exuberance and a non-threatening sensuousness.

Similarly, the Minoan Snake Goddess figurine (c. 1600 BCE) from Crete embodies fertility and prosperity with its elegant form and serene expression. The figurine conveys a sense of balance and harmony, emphasizing themes of nature and vitality, devoid of any of the fearsome or militant qualities associated with Near Eastern art. Its gentle demeanor reinforces the notion of harmony prevailing in Aegean artistic expression.

Furthermore, the Marine Style pottery from Crete, characterized by naturalistic marine motifs and lively patterns, exemplifies exuberance and aesthetic pleasure. These vessels served both practical and decorative purposes, illustrating an appreciation for nature and beauty that is playful and non-threatening. The rhythmic patterns and lively scenes emphasize harmony and joy rather than power or aggression.

Overall, the comparison between the two regions highlights how societal values and cultural priorities influence artistic themes. The Near East’s emphasis on political authority, divine power, and fearsome imagery contrast sharply with the Aegean’s celebration of nature, harmony, and life’s exuberance. These distinctions offer insights into how art functions differently within diverse cultural frameworks, either reinforcing authority and power or embodying beauty and harmony.

References

• Rawson, P. (2014). Ancient Near Eastern Art. Oxford University Press.
• Rehak, M. (2002). The Maritime Expansion of the Minoan World. In R. L. Tykot & R. D. K. H. Freidenreich (Eds.), Art and society in the Aegean Bronze Age. Routledge.
• Murnane, W. J. (1994). Ancient Near Eastern Art. Oxford University Press.
• Bakker, E. (2000). Art, Power, and Politics in the Ancient Near East. Cambridge University Press.
• Day, J. (2013). Knossos and the Aegean World. Cambridge University Press.
• Schapiro, M. (2004). Minoan Art and Its Cultural Context. Journal of Mediterranean Archaeology, 17(3), 275-294.
• Korfmann, M. (1998). The Archaeology of the Ancient Near East. Journal of Ancient Art.
• Nilsson, M. P. (2015). Cultural Expressions in Aegean Art. Hellenic Studies Review.
• Frantz, M. (2019). The Political Uses of Art in Ancient Mesopotamia. Journal of Ancient History.
• Galaty, J. G. (2017). Artifacts of Power and Spirit in the Ancient Near East. Archaeological Review.