Assignment #2, Individual ProjectHUM140: Art AppreciationInstructor: Tammy Starzyk

Colorado Technical UniversityPresented by: TSgt Loren K. R. Schwappach

Created: 14 October 2008

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Image 1: Mythological figures (bull lyre from tomb of King Meskalamdug) 2600-2500 BCE:Image retrieved on 14 Oct 2008 from z.about website at: http://z.about.com/d/arthistory/1/0/N/B/06_UrExp.jpg

Description of the Art: This illustration taken from the sound box of the bull lyre from the tomb of King Meskalamdug, Ur (c. 2500-2400 BCE.) is displayed at the University of Pennsylvania Museum of Archeology and Anthropology, Philadelphia. The illustration appears to show (from bottom to top) a scorpion-man being served by a deer-man, a bear and donkey playing harp, a lion and wolf carrying offerings, and a bearded human male holding what seem to be two bearded she-bulls. (Stokstad, 2007, pg. 43.)

Purpose and placement of the Art: Some of the illustrations shown are thought to allude to the story of Gilgamesh written nearly 700 years after the harps creation, a story that probed the question of immortality and longing to find meaning in human existence. (Stokstad, 2007, pg. 43.) This artwork does in fact seem to illustrate some great epic and was probably read from the top down.

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Image 2: Mythological figures (bull lyre from tomb of King Meskalamdug) 2600-2500 BCE:Image retrieved on 14 Oct 2008 from liebreich.com website at: http://www.liebreich.com/LDC/HTML/Opinion/Iraq/IraqHeritage.html

Culture of the Artists: The Sumerians of Sumer (located in southern Mesopotamia, c. 2680 BCE) that created this masterpiece are credited with many “firsts” from the wagon, wheel, and plow. Casting objects in copper and bronze the replacing the bronze age with their stone age approximately one thousand years before northern Europe. They are also credited with inventing the first known system of writing in 3300 BCE. The Sumerians were a religious society that dutifully believed in the afterlife and were thought to be lead by priest-kings. (Stokstad, 2007, pgs 38-39)

Intended audience of Art: The audience of this artwork may have been a tribute to the Sumerian God’s and/or King Meskalamdug and the lyre was most likely used in Sumerian religious events or for the Kings journey into the afterlife.Image 2

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Image 3: Cylinder seal, 1820-1730 BCE:Image retrieved on 14 Oct 2008 from MetMusium.org website at:http://www.metmuseum.org/works_of_art/collection_database/all/cylinder_seal_and_modern_impression_royal_worshiper/objectview.aspx?page=1&sort=0&sortdir=asc&keyword=Cylinder%20seal&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=30006148&vT=1

Description of the Art: The scene seems to depict a deity of some religion (sitting on a throne placed upon the backs of two sheep-men) in a meeting or discussion with a human subject (to the left). There are several religious artifacts on the scene, to include an Egyptian like cross (lower left), what appears to be angels or bird men to the right, and a griffon or sphinx on a cloud. Yet, the most amazing thing about the art is how it was created.

Purpose and placement of the Art: The scene was created from a cylinder (see next slide) that was rolled upon a medium (mud, clay, etc.) as an official seal of some sort. As the Sumerians that created the art were also credited with the creation of the first written language the seal probably acted as an identification mark for official Sumerian documents. (Stokstad, 2007)

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Image 4: Cylinder seal, 1820-1730 BCE:Image retrieved on 14 Oct 2008 from MetMusium.org website at:http://www.metmuseum.org/works_of_art/collection_database/all/cylinder_seal_and_modern_impression_royal_worshiper/objectview.aspx?page=1&sort=0&sortdir=asc&keyword=Cylinder%20seal&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=30006148&vT=1

Culture of the Artists: As stated on an earlier slide (slide 3) the Sumerians were an advanced society credited with many firsts. They were extremely religious and seemed to incorporate god-like animal-men, servants in much of their artwork. The sphinx and ankh (Egyptian cross) seem to hint towards a relationship towards Egyptian cultural beliefs. (Stokstad, 2007)

Intended audience of the Art: The art was probably used by subjects to identify authenticated documents of the priests or king, and may even have been used in trade agreements.

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Image 5: Lamassu (Human-headed winged lion), 883-889 BCE:Image retrieved on 14 Oct 2008 from MetMusium.org website at:http://www.metmuseum.org/toah/ho/04/wam/ho_32.143.2.htm

Description of the Art: The Lamassu or human-headed winged lion depicted had five feet so that it appeared standing when looked at from the front and striding forward when viewed from the side. Their caps speak of importance or divinity. The creatures were fastened from limestone and placed near important doorways as guardians. (Stokstad, 2007)

Purpose and placement of the Art: These colossal (13-16 ft) Lamassus were carved into the stone gates of palaces and citadels. The likely served as a warning to enemies and as a sign of power and prestige of the ruling king. The Egyptians would later borrow from this idea as seen in the huge Egyptian sphinxes that guarded Egyptian pyramids. (Stokstad, 2007, pg 46)

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Image 6: Lamassu (Human-headed winged lion), 883-889 BCE:Image retrieved on 14 Oct 2008 from MetMusium.org website at:http://www.metmuseum.org/works_of_art/collection_database/all/human_headed_winged_bull_and_winged_lion_lamassu/objectview.aspx?page=1&sort=0&sortdir=asc&keyword=lamassu&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=30009052&vT=1

Culture of the Artists: Around 1400 BCE the Assyrians rose to dominance in northern Mesopotamia. Strongly influenced by the Sumerians the adopted the use of ziggurats and preserved Sumerian text. Their influence spread all the way into Egypt. (Stokstad, 2007, pg 45)

Intended audience of the Art: The art was intended to cause fear and reverence among the Assyrians and their conquered citizens. Its ferocity speaks of Assyrian strength and power.

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Image 7: The Pharaoh Menkaure and his wife, Queen Khamerernebty, 4th Dynasty, from Giza. c. 2515 BCE:Image retrieved on 14 Oct 2008 from accd.edu website at:http://www.accd.edu/sac/vat/arthistory/arts1303/Egypt1.htm

Description of the Art: An ancient Egyptian portrait of Khafra’s son, King Menkaure and his wife Queen Khamerernebty standing side by side with eyes looking into eternity. The King is standing strong and resolute displaying his authority with one foot forward in Egyptian pose. The queen shows her respect and love for the king in a delicate open handed embrace. The king is wearing a short kilt, a short beard (symbolic of kingship) and linen headdress (a tribute to the Egyptian sun god Ra.). (Stokstad, 2007, pg 51)

Purpose and placement of the Art: Discovered in a funerary temple built during Menkaure’s rule, the statue symbolizes the nobility and kingship of Menkaure. Egyptian kings of this era often created such tributes as a show of their power and strength as well as to remind their populace of their rule long after their journey into the afterlife. I would also surmise the king had a strong love and reverence for his wife in including her in the masterpiece.

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Image 8: The Pharaoh Menkaure and his wife, Queen Khamerernebty, 4th Dynasty, from Giza. c. 2515 bce:Image retrieved on 14 Oct 2008 from ancient-egypt.co.uk website at:http://www.ancient-egypt.co.uk/boston/menkaura/pages/boston_03_2006%20051.htm

Culture of the Artists: King Menkaure ruled Egypt from c. 2532-2503 BCE. At the same time the prosperous society of Samaria rose in Mesopotamia, a rich culture began to rise in the fertile valley of the Nile in Egypt. Egyptians like the Sumerians were extremely religious and had a strong belief in the afterlife. Egyptian pyramids were built as gateways to the afterlife and mummification was used to preserve the king for all eternity. (Stokstad, 2007, pg 48)

Intended audience of the Art: The artwork was created to act as a tribute for the kings rule. It was probably meant for the king and his journey into the afterlife.

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Image 9: Funeral mask of King Tutankhamen (King Tut), 1334-1325 BCE:Image retrieved on 14 Oct 2008 from touregypt.net website at:http://www.touregypt.net/featurestories/masks.htm

Description of the Art: Made of solid gold, The funeral mask of King Tutankhamen is a masterpiece of perfection. From the detail of the imortal eyes, using red to create energy and life, to the perfect proportions the Egyptian creators knew how to turn a King into a God. The mask contains simplified forms, emphasizing clarity and color. The fake beard represented kingship the headdress represented Godliness and power. The intricate garment represented wealth and prosperity. (Stokstad, 2007, pg 37)

Purpose and placement of the Art: This mask was created as a tribute to the late King and would serve him for eternity in the afterlife. To Egyptians the mask symbolized their kings immortality (although he died at the age of 17-18 years.)

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Image 10: Funeral mask of King Tutankhamen (King Tut), 1334-1325 BCE:Image retrieved on 14 Oct 2008 from touregypt.net website at:http://www.touregypt.net/featurestories/beards.htm

Culture of the Artists: Tutankhamen probably ruled from 1334 and 1325 BCE. Ancient Egyptians observed regeneration of life through the yearly floods of the Nile river, so it is easy to see why they could easily believe in an afterlife. The Egyptian kings believed if their name was remembered their soul would live on. This funeral mask was a tribute to this idea. (Stokstad, 2007)

Intended audience of the Art: The mask served two fold. To the populace it served as a reminder of the kings power and godliness. To the dead king it served as a reminder of his lineage and reign and would voyage with him concealed in his chamber to the afterlife.

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Image 11: The great Egyptian pyramids, c. 2630-1814 BCE:Image retrieved on 14 Oct 2008 from wikipedia website at:http://en.wikipedia.org/wiki/Giza_pyramid_complex

Description of the Art: Covering an area of 13 acres, at 756ft. The great Egyptian pyramid, one of the many at Giza is probably the greatest tribute to early Egyptian intellect and artistic perfection. Pyramid blocks were taken using stone and copper tools. Granite was gathered using pounding stones. The blocks were transported to the pyramid site using barges and wooden sleds. (Stokstad, 2007)

Purpose and placement of the Art: The sole purpose of these massive structures (which could take a Kings entire lifetime to be built) was to serve as a gateway for the king to enter the afterlife.

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Image 12: The great Egyptian pyramids, c. 2630-1814 BCE:Image retrieved on 14 Oct 2008 from touregypt.net website at:http://www.touregypt.net/featurestories/pyramidoverview.htm

Culture of the Artists: Egyptian kings were extremely devout and strongly believed in their divinity. Their competition to stamp their names and rule into eternity lead to many amazing feats as seen in the pyramids. As seen in Sumerian art they shared many Mesopotamian beliefs and ideas and incorporated many such works into their society. The Sphinx and the Lamassu are just one of the many ties.

Intended audience of the Art: The pyramids were intended as a sign of immense power and eternal life of the Egyptian kings, and were designed for their journey into the afterlife.

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