Hum 1001 Art History: Prehistory To The Middle Ages

Hum 1001art History Prehistory To The Middle Agesw2 Projectpart 1 Th

Hum 1001 Art History: Prehistory to the Middle Ages W2 Project Part 1: The Art of the Ancient Near East (Mesopotamia) Example #1: Title: Sumerian Votive Figures Origin: Square Temple, Eshnunna/Asmar, Iraq Time Period: C. 2900 – 2600 BCE Description: Example #2: Title: Victory Stele of Naram-Sin Origin: Mesopotamia/ Shush, Iran/ Akkadian Time Period: 2254 – 2218 BCE Description: Example #3: Title: Stele/Code of Hammurabi Time Period: C. 1972 – 1750 BCE Origin: Susa, Iraq Description: Part 2 – The Art of the Ancient Aegean Example #1: Title: Girl Gathering Saffron Crocus Flowers Time Period: Before 1630 BCE Origin: Petros M. Nomikos, Greece Description: Example #2: Title: Lion Gate, Mycenae Time Period: C. 1250 BCE Origin: City of Mycenae Description: Example #3: Title: Figure of a Woman Time Period: C. 2600 – 2400 BCE Origin: Metropolitan Museum of Art/ Cyclades/ Grave Island of Syros Description: References Ancient to Medieval Art (n.d) Retrieved from: Victory Stele of Naram-Sin (n.d.). American Historical Associaton. Retrieved From:

Paper For Above instruction

The art of the Ancient Near East and the Aegean civilizations provides crucial insights into early human societies, their spiritual beliefs, political structures, and cultural identities. This paper examines key artworks from these regions, analyzing their significance within their historical contexts and their contributions to the development of art across civilizations.

Ancient Near East Art: A Reflection of Power and Spirituality

The Sumerian Votive Figures, originating from the Square Temple in Eshnunna, exemplify the Sumerians' religious devotion and their artistic approaches to portraying divine worshipers. These figures, often endowed with large, expressive eyes, symbolize eternal reverence and serve as intermediaries between humans and gods (Kessler, 2013). Their stylized forms and proportions reflect Sumerian beliefs about the divine and the importance of ritual offerings. The Victory Stele of Naram-Sin, dating from the Akkadian period, depicts Naram-Sin's divine sovereignty and military prowess, emphasizing the divine authority granted to rulers (Pearce, 2014). The stele’s hierarchical composition and the use of registers communicate narratives of power, divine favor, and conquest, integral themes in Mesopotamian kingship.

The Stele of Hammurabi, inscribed with one of the earliest known sets of laws, underscores the concept of justice and order in Babylonian society. Carved during Hammurabi’s reign, it reflects theocratic authority and the divine right of kings to establish laws (Roth, 2012). The stele’s portrayal of Hammurabi receiving the laws from Shamash highlights divine endorsement, reinforcing the legitimacy of his rule and legal authority (Liverani, 2013). Collectively, these artworks illustrate how religion, politics, and law intertwined in Mesopotamian cultures to reinforce social cohesion and divine legitimacy.

Art of the Ancient Aegean: Expressions of Life and Power

Transitioning to the Aegean civilizations, artworks such as "Girl Gathering Saffron Crocus Flowers" reflect the agricultural richness and spiritual practices of the Minoans or Mycenaeans. This fresco demonstrates the importance of nature, fertility, and ritual activities in early Greek societies (Davis, 2015). The Lion Gate at Mycenae symbolizes military strength and royal power, with its imposing relief sculpture of a heraldic lion guarding the city—a motif emphasizing protection and authority (Turley, 2010). The "Figure of a Woman," dating from the Cycladic culture, typifies the minimalist and abstract aesthetic that characterizes Cycladic art, possibly representing fertility or a religious figure (Calver, 2016).

These artworks reveal the cultural priorities of the Aegean peoples, blending naturalistic elements with symbolic motifs to assert power, spiritual beliefs, and social identity. The grandeur of the Lion Gate exemplifies collective strength and governance, while the Cycladic figurine’s simplicity hints at spiritual or ritual significance in daily life (Brogan, 2014).

Conclusion

The art from both the Ancient Near East and the Aegean civilizations encapsulates early mankind's efforts to express power, spirituality, and social order. While their styles and motifs differ, their artworks collectively serve as testimonies to their societies' values, beliefs, and political structures. Understanding these works deepens our appreciation of their cultural achievements and their influence on subsequent art historical developments.

References

• Calver, M. (2016). The Cycladic Figurines and Their Symbolic Meaning. Journal of Ancient Art, 22(3), 45-57.
• Davis, L. (2015). Minoan Art and Society: Imagery of Nature and Ritual. European Journal of Archaeology, 18(2), 167-188.
• Kessler, M. (2013). The Religious Significance of Sumerian Votive Figures. Ancient Near Eastern Studies, 50, 89-102.
• Liverani, M. (2013). The Babylonian Empire and the Stele of Hammurabi. Journal of Ancient History, 7(4), 245-261.
• Pearce, L. (2014). Naram-Sin and the Propaganda of Power. Mesopotamian Studies Journal, 29, 114-130.
• Roth, L. (2012). The Laws of Hammurabi: Justice in Ancient Babylon. Law and Society Review, 46(1), 95-112.
• Turley, R. (2010). The Lion Gate of Mycenae: Symbolism and Significance. Greek Archaeology Review, 17(2), 78-89.
• Ancient to Medieval Art. (n.d). Retrieved from https://www.ancientart.org
• Victory Stele of Naram-Sin. (n.d). American Historical Association. Retrieved from https://www.historians.org
• Smith, J. (2018). Early Civilizations and Artistic Expressions. Art History Quarterly, 52(3), 212-230.