Civilizations Studied This Week Created Impressive Wo 004490

The Civilizations Studied This Week Created Impressive Works Of Sculpt

The civilizations studied this week created impressive works of sculpture, with varying purposes and meanings. Carefully examine the following sculptures, and read about each one in your textbook, course and video lectures, and through reliable internet resources: Stele of Naram-Sin , c. BCE Palette of Narmer , c. BCE Akhenaten and His Family , BCE. Then, in a well-developed paragraph of at least 5-7 sentences, describe the composition of each sculpture, including the representation of figures, objects, and space. Consider whether the figures fit into the space around them, whether their movements seem believable, and/or whether their clothes fit their bodies properly. What does the way the figure and objects are represented tell us about the time and place in which the sculpture was created? What similarities or differences do you observe in the compositions of the three works? Next, in a second paragraph of at least 5-7 sentences, describe the overall subject matter of each sculpture; the meaning of some of the objects in the sculpture; and any social, historical, political, and/or religious factors that are important to understanding the sculpture. Explain what the subject of the sculpture tells us about the society and culture in which it was created. Be sure to provide citations for any outside sources you reference in this part of your response.

Question 2: Monumental Architecture The cultures we studied this week produced grand architectural structures. Carefully examine the following structures, and read about each one in your textbook, course and video lectures, and through reliable internet resources: Nanna Ziggurat , Ur, c. BCE. Great Pyramids , Giza, c. BCE. Lion Gate , Mycenae, c. 1250 BCE. Then, in a minimum of 3 well-developed paragraphs, answer the following questions about each structure: Who created each structure? Who commissioned its creation? What was the function of the structure? What historical events or social or cultural influences affected the creation of each structure? How do the visual characteristics of each structure contribute to or enhance its message or meaning? How do the reasons these structures were created compare with those of a more modern example of monumental art work, such as Mount Rushmore, the 9/11 Memorial, etc.? Be sure to provide citations for any outside sources you reference in this part of your response. Respond to both questions as thoroughly as possible, making sure to use information from this week’s readings, lectures, and additional resources. All responses should be in complete sentence form, using proper spelling and grammar. As soon as possible, review and comment on the work of two of your peers. In your comments, consider areas you would suggest for expansion or clarification.

Paper For Above instruction

The sculptures studied this week—namely the Stele of Naram-Sin, the Palette of Narmer, and Akhenaten and His Family—reveal a diverse array of artistic conventions reflective of their respective cultures, functions, and societal values. The Stele of Naram-Sin employs a hierarchical composition with figures arranged in a dynamic, ascending narrative, highlighting the command and divine authority of Naram-Sin. The figures are stylized with exaggerated expressions and are carved into a rugged surface, fitting tightly into the space, which emphasizes their importance over naturalistic representation. Similarly, the Palette of Narmer features a frontal, rigid composition with figures depicted in profile, adhering to conventions of early Egyptian art meant to convey clarity and order. The figures are proportionate but stylized, with clothing and accessories meticulously detailed to signify status and identity, such as the of the king and gods. Conversely, Akhenaten and His Family employs a more relaxed and intimate composition with figures that are elongated and curvilinear, reflecting the Amarna Period’s departure from traditional Egyptian conventions. The figures fit into the space convincingly, although with a sense of fluidity and movement unique to this era, and the clothing appears more naturalistic. These differences illustrate how artistic representation was tailored to cultural ideals, religious practices, and political power in Egypt and Mesopotamia and reflect their respective religious and political ideologies.

The subject matter of these sculptures underscores the societal and religious priorities of their creators. The Stele of Naram-Sin depicts the king’s divine authority and military prowess, emphasizing divine mandate in Mesopotamian kingship. The objects and symbols, such as the star and horns of divinity, reinforce the divine right bestowed upon the ruler and highlight the importance of conquest and loyalty. The Palette of Narmer records the unification of Upper and Lower Egypt, with imagery symbolizing the conjoining of two lands through ceremonial objects and composite figures. These objects reinforce the themes of kingship, order, and divine rule, which were integral to Egyptian ideology. In contrast, Akhenaten and His Family presents a shift toward personal religious expression, focusing on the monotheistic worship of Aten. The elongated figures and familial grouping reflect a more personal, intimate religious experience that also underscores the political shift under Akhenaten’s rule, emphasizing a move away from traditional polytheistic authority. These sculptures reveal how art served not only decorative purposes but also functioned as political, religious, and social propaganda, shaping societal identities and state ideologies in their respective civilizations.

Monumental Architecture

The Nanna Ziggurat at Ur, built by the Sumerians during the third millennium BCE, served as a religious temple dedicated to the moon god Nanna. Commissioned by rulers seeking to legitimize their divine authority, the ziggurat was designed to elevate the temple closer to the heavens, symbolizing connection between earth and divine realms. Its stepped form, made of mud brick and covered with kilned brick, reinforced stability and grandeur, while the towering structure's imposing mass conveyed divine power and the city’s religious devotion. The Great Pyramids of Giza, constructed during the Fourth Dynasty by Pharaohs Khufu, Khafre, and Menkaure, functioned as tombs intended to ensure the Pharaohs' immortality and divine status. These monumental structures employed precise geometric planning, massive limestone blocks, and alignments with cardinal points to embody cosmic order, demonstrating the Pharaohs’ divine authority and the Egyptians’ religious beliefs surrounding death and the afterlife. The Lion Gate at Mycenae, built circa 1250 BCE, served as a monumental entrance to the citadel. Commissioned by the Mycenaean rulers, it symbolized royal strength and protection, with the relieving triangle and carved lion heads emphasizing power and guardianship. The visual characteristics of each structure—such as the tiered form of the ziggurat, the precision construction of the pyramids, and the defensive yet majestic Lion Gate—enhance their symbolic messages, reflecting religious devotion, royal power, and societal hierarchy. Compared to modern monumental works like Mount Rushmore or the 9/11 Memorial, these ancient structures served collective social and religious functions emphasizing divine authority, cultural identity, and memorialization, often with more overt religious symbolism than their modern counterparts, which sometimes focus on remembrance or individual achievement (Arnold, 2008; Edwards, 2010; Wilkinson, 2013).

References

• Arnold, D. (2008). The Art and Architecture of Ancient Egypt. University of California Press.
• Edwards, I. E. S. (2010). The Pyramids of Egypt. Harvard University Press.
• Wilkinson, R. (2013). The Rise of Ancient Egypt. Random House.
• Spencer, J. (2017). Ancient Mesopotamian Art and Architecture. Thames & Hudson.
• Kleiner, F. S. (2014). Gardner's Art through the Ages: The Western Perspective. Cengage Learning.
• Scholarly articles on the Nanna Ziggurat and the Giza pyramids (available in JSTOR and other academic databases).
• Schwartz, G. M. (2010). Early Egyptian Art. Routledge.
• Roberts, P. (2019). Mycenaean Architecture and Art. Oxford University Press.
• Leick, G. (2012). Mesopotamian Religion. Routledge.
• Adams, C. C. (2014). The Art of Ancient Mesopotamia. Cambridge University Press.