HUM1001 Art History: Prehistory To The Middle Ages W2 Projec ✓ Solved
HUM1001 Art History: Prehistory to the Middle Ages W2 Proje
Exploring the Art and Architecture of the Ancient Near East (Mesopotamia) and the Art from the Ancient Aegean.
Part 1 - The Art of the Ancient Near East (Mesopotamia)
Example 1: Stele of the Vultures
Title: Stele of the Vultures
Date: ca. 2600–2500 BCE
Place of origin: Girsu (modern Telloh), Iraq
Detailed Description: This fragment depicts a battle scene that illustrates the military prowess of the time. The stele is made of limestone and stands at a height of 2 feet 6 inches; the full stele would have reached 5 feet 11 inches. The imagery serves to glorify the victor while also instilling a sense of fear in enemies.
Historical Value: The Stele of the Vultures is significant as a political statement regarding power and authority in the region. It suggests that art from this era was not just decorative but also served to communicate the narrative of military strength.
This image supports the statement that art from the ancient Near East often contains elements that can be seen as fearsome and political in nature. The depiction of victory is laden with imagery meant to intimidate opponents and assert dominance.
Example 2: War side of the Standard of Ur
Title: War side of the Standard of Ur
Date: ca. 2600–2400 BCE
Place of origin: Ur (modern Tell Muqayyar), Iraq
Detailed Description: This artifact is a wooden panel inlaid with lapis lazuli, shell, and red limestone, measuring 8 inches by 1 foot 7 inches. It vividly depicts the chaos of battle, showcasing chariots and soldiers engaged in combat.
Historical Value: The Standard of Ur reflects the militaristic culture of ancient Mesopotamia, underscoring how power was represented through art. It serves as a historical document of the societal values at the time.
This image corroborates the assertion that ancient Near Eastern art embodies fearsome and militant traits through its portrayal of conflict and victory in battle.
Part 2 - The Art of the Ancient Aegean
Example 1: Inlaid Dagger Blade with Lion Hunt
Title: Inlaid Dagger Blade with Lion Hunt
Date: ca. 1600–1500 BCE
Place of origin: Mycenae, Greece
Detailed Description: This bronze dagger blade is inlaid with gold, silver, and niello, measuring 9 inches in length. It presents a scene of a lion hunt that conveys both bravery and skill.
Historical Value: The item demonstrates the artistry and craftsmanship of the Mycenaean culture. The harmonious depiction of man and nature indicates a value placed on human agency and skill.
Example 2: Warrior Vase (Krater)
Title: Warrior Vase (Krater)
Date: ca. 1200 BCE
Place of origin: Mycenae, Greece
Detailed Description: This krater is 1 foot 4 inches high, adorned with a battle scene featuring warriors. The design emphasizes the human figures' linearity and expressions.
Historical Value: This vase reflects moments of communal celebration and storytelling, indicating a society that valued narratives of prowess and friendliness.
The warrior vase supports the statement about the art from the ancient Aegean embracing harmonious elements while also showcasing military strength, suggesting that such representations were celebrated rather than feared.
Example 3: Lion Gate
Title: Lion Gate
Date: ca. 1300–1250 BCE
Place of origin: Mycenae, Greece
Detailed Description: The Lion Gate features a limestone relief panel standing 9 feet 6 inches high. The imagery of lions dominating the entrance signifies strength and protection.
Historical Value: Designed as an architectural piece, the Lion Gate serves as a statement of defense and authority, showcasing the Mycenaean prowess in both art and architecture.
This structure aligns with the view that ancient Aegean art often embodies elements of exuberance and non-threatening nature, emphasizing the protective rather than aggressive qualities of such motifs.
Conclusion
Through the examination of selected artifacts from both the Ancient Near East and the Aegean, it becomes clear that art from these regions served distinct purposes—articulating power, valor, and the communal identity of their respective societies. The nature of these expressions ultimately reflects their historical and cultural contexts in a rich tapestry of human experience.
References
- Beech, Michael. (2017). Art of Ancient Mesopotamia. London: Thames & Hudson.
- Boardman, John. (1996). Greek Art. London: Thames & Hudson.
- Calmeyer, Klaus. (2016). The Aegean World. New York: Cambridge University Press.
- Foster, Benjamin R. (2016). The Epic of Gilgamesh. New York: W.W. Norton.
- Holloway, Rita. (2007). Minoan and Mycenaean Art. Princeton: University Press.
- Kontorli-Papadopoulou, Natalia. (2018). Ancient Greek Art. Athens: Kapon Editions.
- Kramer, Samuel Noah. (1963). The Sumerians: Their History, Culture, and Character. Chicago: University of Chicago Press.
- Pritchett, William Kendrick. (1992). A History of Ancient Greece. New York: Norton.
- Shelton, Joann. (2014). Art and the City: The Arts and Architecture of the Empires of Mesopotamia. New York: Oxford University Press.
- Vorborg, Lars. (2010). Architecture and Art of the Ancient Aegean. Berlin: De Gruyter.