Traditionally Most Pieces of Oceanic Art Had Some Relation to the Religion of the Culture
Carly Strickland
Organized religion and the beliefs of the cultures of the ancient earth played a huge role in the art that was created. Through this digital micro-exhibition visitors should experience the potent relationship betwixt many great works of art and faith. From deities to gods and goddesses, religious narratives, and behavior shaped the cultures of Mesopotamia, Egypt, and Hellenic republic.
As each piece of fine art in this exhibition is viewed and the cultures in which they were created are studied, comparisons can exist drawn to the religious beliefs of the viewer, and it is the hope of the curator that each viewer will find some joy in seeing these pieces from this interesting perspective. A clear agreement of the freedom nosotros have in America to worship and follow whatsoever belief system we choose can exist overwhelming when i thinks well-nigh the uniqueness of these freedoms. In that location is definite beauty in being able to correspond these belief systems through works of art. Consider the societies and cultures of the aboriginal past as well as the present, and consider your freedom in this melting pot of cultures in which we live.
Hither are some questions to ponder while viewing these pieces: What kind of fine art would these cultures take created if religion and beliefs had not influenced the art and then greatly? Would those cultures have had any art at all? How can you relate your own beliefs to these cultures? How does religion play a part in fine art today?
The curator of this exhibit recently watched a motion picture near Dinah, the daughter of Jacob and sister of Joseph which sparked a connection between art and her own beliefs. The women in the hire tent were worshiping Inanna, the goddess of love and fertility. Although the fictional volume and TV series may not have been entirely true to the Bible information technology notwithstanding evoked a sense of what other gods the tribes and people of that fourth dimension worshipped other than the God of the Bible. The commandment "You shall have no other gods before me," came to life in that moment. Although at times in Evangelical education, the "other gods" can exist associated with coin or some other thing in modern life that takes attention away from the relationship with God, it is interesting to learn that people actually worshipped idols, and clay figures. So hopefully each viewer of this exhibit can find a connexion to these pieces and the cultures from which they came, and these connections will further open up hearts and minds to the many cultures of the world.
Warka Vase, Uruk, (modernistic mean solar day Warka, Iraq) c. 3300 – 3000 BCE
The Warka Vase is fabricated from alabaster, a form of marble, and stands approximately 36 inches high. The piece was plant in the Temple Circuitous of the Sumerian goddess Inanna. Inanna was the patron deity of Uruk and is ofttimes mentioned with the other three Mesopotamian deities of Uruk – Anu, Enki, and Enlil. Her name is often accompanied by the symbol of a reed stalk tied in a hook at the superlative next to it. Inanna was believed to be the goddess of dear and war and was subsequently believed to be the goddess of fertility. While Inanna was the goddess of love, she was not the goddess of matrimony. She was associated with sexual behavior. In each story that is told nigh her she is never an innocent eyewitness. She is e'er sly, manipulative, "fierce and lusting later power". One of many examples of Inanna's manipulation tin be found in the Epic of Gilgamesh. Gilgamesh was 2-thirds god and one-3rd homo, and Ishtar, Inanna's Akkadian counter-part, cruel in love with him the first time she laid optics on him. "Inanna was carefully identified with Ishtar and rose in prominence from a local vegetative deity of the Sumerian people to the Queen of Heaven and the most popular goddess in all of Mesopotamia".[i] Gilgamesh did non render the aforementioned affection towards her to which she took smashing criminal offence. Ishtar had her begetter, Anu, brand a divine bull to kill Gilgamesh and his friend Enkidu. Enkidu defeated the bull so the gods punished him by taking his life. Ishtar's scheme did not go as planned, but someone's life was withal taken because of her selfishness and manipulation.
The Warka Vase tells a narrative story and is said to be a representation of the New Year's festival. The registers show men, animals, water, and grain, and the New Years festival is believed to have brought fertility and growth to the soil. The lesser register shows a procession of animals walking to the right. The middle register shows nude men carrying vessels walking to the left in the reverse direction of the animals. The pinnacle register seems to depict the operation of a sacrifice or offering and shows a bearded bull which often represents deity. The management switching from left to right gives a sense of motion up to the temple starting from the bottom register of the vase and proceeding to the top register. The male person and female figures on the vase, which are no longer in tact, are believed to exist depicting Inanna and Dumuzi, or her priestess and the priest-king. "The fusion of the world of the gods and that of the humans was so complete at the end of the fourth millennium, when the vase was produced, that depictions of figures lack indicators of divinity".[ii] Union between deities and humans was believed an essential step in the procedure of growth and fertility in Sumer. Cultural wisdom was that the pleasance of deities brought prosperity to the lands.
The interaction between deity and priest-rex in the Warka Vase is why the piece was called for this digital exhibition. Inanna "…brings noesis and culture to the urban center of Uruk" .[three] She was said to be the source of abundant harvests, power, and protection of the kings.
[i] Joshua J. Marker, "Inanna", Aboriginal History Encyclopedia, 2010, http://www.ancient.eu/Inanna/.
[ii] The Metropolitan Museum of Art, Art of the First Cities, (New York: The Metropolitan Museum of Fine art, 2003), 24.
[iii] Joshua J. Marker, "Inanna", Ancient History Encyclopedia, 2010, http://www.aboriginal.eu/Inanna/.
Babylonian Stele of Hammurabi, Made in Babylon, Erected at Sippar, Found in Susa, c. 1792-1750 BCE
The Stele of Hammurabi is an fine art slice and code of laws that was found in ancient Susa, and commissioned by Hammurabi, the 6th king of Babylon. The stele is made of diorite and is 7.4 feet tall, which emphasizes its significance. The main purpose of the piece was to serve every bit political propaganda, reminding those in the towns of Hammurabi's kingdom of his dominion and his laws. While the bottom portion serves as political propaganda the peak is a religious relief sculpture paying tribute to Shamash, the sun god. The principle scene depicted shows King Hammurabi receiving his investiture from Shamash.
Hammurabi was the king of Babylon in Mesopotamia from 1792 to 1750 B.C.E. Babylon's history was fabricated famous because of Hammurabi'due south greatness and military machine prominence. "Hammurabi combined his military machine and political advances and irrigation projects and the construction of fortifications and temples celebrating Babylon's patron deity Marduk".[i] Hammurabi implemented ane of the earliest forms of legal codes in ancient Babylon. "His code, a collection of 282 laws and standards, stipulated rules for commercial interactions and set up fines and punishments to meet the requirements of justice".[ii] "An eye for an eye, a tooth for a tooth" is an example of ane of the harsh punishments that Hammurabi enforced. Hammurabi's Code was written in cuneiform script, the primeval system of writing, which was adult by the Sumerians. It is divided into three parts, a prologue, epilogue, and two literary passages describing the 282 laws. The prologue describes King Hammurabi'south role equally protector, his empire, and triumph. The epilogue is a lyric and summary of Hammurabi'due south legal work and groundwork for the futurity. The two literary passages were put into layman's terms so anybody could understand the terms of the laws. The punishments were written as conditional statements, for instance, "If a homo knock out the teeth of his equal, his teeth shall exist knocked out".
Shamash, the sunday god, who is seen in the top half of the stele, was also the god of law and justice, which explains why he is belongings a staff and ring. He was an Akkadian god who "exercised the power of lite over darkness and evil".[iii] When comparison the Stele of Hammurabi to the Shamash Stele yous can come across that there is no division between Hammurabi, the king, and Shamash, the deity. It gives a sense of unification between the two. The Victory Stele of Naram-Sin shows Naram-Sin portraying himself equally a god, so in comparing the 2, the Stele of Hammurabi holds to the tradition where the king is still the negotiator with the deity and submits to the ability of the god.
This piece represents another instance of the interaction betwixt the rex and patron deity. The king is the middleman who communicates with the deity, presenting the god with worship and gifts. In this example the relationship is as well used as political propaganda to ensure that the people of Babylon submit to the Hammurabi code – a legal system implemented "to forbid the strong from oppressing the weak and to run across that justice is done to widows and orphans".[4]
[i] History.com Staff, "Hammurabi", 2009, A+Due east Networks, http://world wide web.history.com/topics/ancient-history/hammurabi.
[ii] History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/ancient-history/hammurabi.
[iii] Encyclopædia Britannica Online, due south. 5. "Shamash", accessed April 21, 2015, http://world wide web.britannica.com/EBchecked/topic/538274/Shamash.
[iv] History.com Staff, "Hammurabi", 2009, A+Due east Networks, http://www.history.com/topics/aboriginal-history/hammurabi.
Temple Complex at Karnak, c. 1292-1190 BCE
The Temple Circuitous at Karnak is found in Thebes on the east bank of the Nile River. The ancient Egyptians knew the temple of Karnak equally Ipet-isu—or "most select of places"—.[i] It is considered the largest temple complex on Earth. It pays tribute to the deities Amun (Amun-Ra), Khnosu, and Mut. It is made upwardly of courts ascribed to over 30 dissimilar kings, 3 main temple precincts, Hypostyle Hall, the sacred lake, and Scarab statues.
The largest temple in the circuitous is the Temple of Amun (Amun-Re), the Male monarch of the gods. The other 2 temples are the temples of his married woman Mut, and son Khnosu. Amun was one of the most important gods in ancient Egypt, and once united with Ra, the sun god, he was the most powerful. "Amun-Ra was considered to be the father and protector of the pharaoh".[2] Six enormous figures sit outside the Temple of Amun that are believed to be the sculptures of the royal family, Hatshepsut and her ancestors. Hastshepsut, the Pharaoh of the 18thursday Dynasty oft associated herself with Amun, and one form of propaganda fifty-fifty said that she was the daughter of Amun.
The Swell Hypostyle Hall congenital by Sety I, the 19thursday century pharaoh, is the almost k of the buildings at Karnak, even in the presence of the temples of gods and goddesses. The Hall is a 54,000 square feet forest of 134 columns. The columns are 45' wide and approximately seventy' tall. "Not only does the scale and completeness of this monument remain a rarity among ancient Egyptian temples, merely is likewise the largest and almost elaborately decorated of all such buildings in Egypt".[3] There is great detail in the relief carvings throughout the hypostyle. "The patchwork of artistic styles and different imperial names seen in these inscriptions and relief sculptures reflect the unlike stages at which they were carved over the centuries".[four] Some of the relief's include; Sety I offering two flowers, Ramesses II offering incense, Ramesses IV offering lettuce to Amun-Ra, Sety I attacking the Syrian town of Kadesh, and Horus with the headdress of Amun and the King.
The Sacred Lake is 393 feet by 252 feet and was dug by Tuthmosis 3. The lake represents the remembrance of the void of anarchy, memorial witness, and the commencement point of creation. It is a place of purification and is where the priest would bathe himself earlier sacred rituals. The goose is a symbol of Amun and the sacred geese of Amun also lived in the lake.
The Scarab of Amenhotep III, dung beetle and granite statue, was an emblem of the cycle and nature of cosmos. The dung beetle was an insect associated with the sun god Khepri. "The plinth is decorated with a lightly inscribed sunk relief scene of a kneeling Amenhotep 3 offer to Khepri who is seated on a low throne. A winged solar deejay extends over their heads".[v] The Scarab is attached to the sacred lake, nearly equally if they are standing guard, standing between anarchy and the rest of the world.
The Temple Circuitous at Karnak, filled with sacred buildings and rich culture, holds swell significance to Egyptian history. "Information technology is the largest religious building ever made, covering near 200 acres, and was a place of pilgrimage for nearly 2,000 years".[six] This virtual exhibit would non have been complete without the Temple Circuitous at Karnak taking an appropriate place considering the corporeality of religious ceremonies and practices that took place there.
[i] Owen Jarus, "Karnak: Temple Complex of Aboriginal Egypt", 2012, http://world wide web.livescience.com/25184-karnak-temple.html
[ii] J. Hill, "Gods of ancient Egypt: Amun", 2010, http://www.ancientegyptonline.co.united kingdom of great britain and northern ireland/amun.html
[iii]Academy of Memphis Higher of Arts & Sciences, "Welcome to the Hypostyle Hall", http://world wide web.memphis.edu/hypostyle/staff_biographies.htm
[iv] University of Memphis College of Arts & Sciences, "Welcome to the Hypostyle Hall", http://world wide web.memphis.edu/hypostyle/staff_biographies.htm
[v] C. Zarnoch, E. Sullivan, "Scarab of Amenhotep Iii", http://dlib.etc.ucla.edu/projects/Karnak/resource/ObjectCatalog/1854
[vi] Marking Millmore, "Karnak Temple Sacred Lake", Discovering Egypt Website, 1997, http://discoveringegypt.com/karnak-temple/
Marble metope from the Parthenon, Athens, 447-438 BCE
The marble metope from the Parthenon was a series of 92 marble panels on the exterior Doric frieze of the Parthenon in Athens. The marble metopes are as well known equally the Elgin Marbles, named after the 7th Earl of Elgin, Thomas Bruce who sold the marbles to Britain when Greece was under the rule of the Ottoman Empire. The Elgin Marbles still to this solar day reside in the British Museum, which has led to a rather heated fence. "Britain used to say that Athens had no acceptable identify to put the Elgin Marbles, the more one-half of the Parthenon frieze, metopes and pediments that Lord Elgin spirited off when was ambassador to the ottoman empire two centuries agone".[i] Now that the Acropolis Museum is a fully functioning museum with state of the art technology to help preserve and restore art, Britain's argument is invalid. The fence nevertheless continues and further questions to whom ownership belongs and whether repatriation is the correct affair to do or not. Fine art does aid define a culture and its means but do other people deserve run into the art too? Would people appreciate fine art equally much if there weren't places similar encyclopedic museums where they tin come across these pieces offset paw?
This particular marble metope from the Parthenon depicts a scene of "A fight between a human Lapith and a Centuar".[ii] Lapith'due south were Greek mythological people who lived on Mount Pelion and were known for their rivalry with the Centaurs. Centaurs were creatures that were part human and part horse and descended from Centaurus, the son of the music god, Apollo. The story the scene was taken from was of Centaurs get-go meet with wine. The Lapith's were throwing a marriage feast for their King, Peirithoos, and gave the Centaurs vino. The Centaurs got unruly and their leader, Eurytion, tried to take advantage of the helpmate. This caused uproar and "a general battle ensued, with the Lapiths finally victorious".[three]
This scene is portraying the victory of the Lapith's over the Centaurs. The nude Lapith male is in the forefront of the sculpture showing authorization. The stance of the Centaur is uncomfortable and like he is in pain, and the stance of the Lapith is more than relaxed and over powering. The defeat of the Centaur is shown very clearly on his confront, and fifty-fifty though the Lapith is faceless, his body shows his victory. "The composition is perfectly balanced, with the protagonists pulling in reverse directions, effectually a key space filled by the cascading folds of the Lapith'south cloak".[4]
The connection this piece has with this exhibit is that Centaurs are descendants of Appollo's son, Centaurus, and that Lapith's are humans derived from greek mythology. In this particular piece there is not a god or goddess being worshiped or offered sacrifices, but the piece gives a sense of how Greek culture was shaped effectually Greek mythology and the gods. Countless stories were told and art was made to visualize those stories. "The ancient Greek spiritual beliefs, faith, and oral tradition are all reflected and formulated through rich myths and legends that also amusement provided an articulation of the moral fiber of the Greek culture equally it evolved through at least two yard years".[v]
[i] Michael Kimmelman, "Elgin Marble Argument in a New Light", 2009, New York Times, http://www.nytimes.com/2009/06/24/arts/design/24abroad.html?pagewanted=all&_r=0
[2] B.F. Cook, The Elgin Marbles, 2nd edition (London, The British Museum Press, 1997)
[3] B.F. Melt, The Elgin Marbles, twond edition (London, The British Museum Press, 1997)
[iv] B.F. Melt, The Elgin Marbles, 2nd edition (London, The British Museum Printing, 1997)
[five] Ancient-Hellenic republic.org Staff, "Greek Mythology", http://ancient-greece.org/culture/mythology.html
Laocoon and His Sons Hagesandros, Polydoros, and Athenodoros of Rhodes, Hellenistic Hellenic republic, 1st century BCE,
This sculpture of Laocoon and His Sons is one of the most famous sculptures from the Hellenistic fourth dimension flow, around 200 BCE. The sculpture was discovered in ix pieces, one seemingly life-sized, by a farmer in his vineyard on Esquiline Colina, was excavated in 1506, and placed in the Vatican where still housed today. The discovery of Laocoon sparked the imaginations of artists from Raphael to Michelangelo, becoming the standard for aesthetic beauty in art for the next several centuries. 1 can certainly see the influence of this piece on the physical attributes of some of the works of Michelangelo such equally many figures on the Sistine Chapel Ceiling with similar muscular structure, and on the emotional attributes of pieces like his Slaves sculptures. Politicians sought afterward the sculpture as well, and Napoleon even captured the piece for his Louvre for a fourth dimension. Eventually Laocoon was returned to the Vatican. Standing effectually eight anxiety tall, Lacoon and His Sons is sculpted from marble. The sculpture illustrates the scene of Laocoon and his ii sons being attacked by bounding main serpents.
Laocoon was a Trojan priest and was said to exist the priest of Poseidon. Some say he was also the priest of the god Apollo. The Trojan State of war could have been prevented if the Trojans had listened to Laocoon the day the Greeks brought the Trojan horse into the city. Laocoon tried to warn them against bringing the horse into the city because he sensed that it was a trap and indeed it was. Athena, the goddess, was the protector of the Greeks and punished Laocoon for trying to interfere with their plan. She punished him past sending two body of water serpents, Porces and Chariboea, to set on his 2 sons and him. Some other narrative says that, "Laocoon offended Apollo by breaking his adjuration of celibacy and begetting children or by having sexual intercourse with his wife in Apollo's sanctuary".[i] Apollo sent two serpents to kill Laocoon and his sons while he was sacrificing a bull at Poseidon's altar. Whichever tale is truthful, both stories show that the gods and goddesses interacted with humans regularly but were not always trustworthy and did not always fight on the side of the humans.
The musculature in this sculpture shows the arcadian body type of Grecian males during this fourth dimension period of ancient Hellenic republic. The males were warriors and were expected to be the most fit. This piece shows a very intense narrative moment and emphasizes this past exaggerated tension in the bodies. One son seems to be breaking free of the grip of the sea serpents when he looks across to run into his father and brother in the desperation of their deaths.
This slice was chosen for this exhibit because of the relationship between Laocoon and the gods and goddesses, which also once more illustrates how gods and goddesses were function of everyday life in Greek culture, and for its influence on generations of artists centuries after the original sculpture was made.
[i] The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed Apr 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Statuette of Isis and Horus, Ptolemic Period, ca. 304-30 BCE
Isis was arguably the virtually of import goddess of ancient Egyptian history as she was worshipped not only in Egypt, but as well throughout Italy and Greece, and her influence lasted long after the demise of the Egyptian empire. The Statuette of Isis and Horus was fabricated of Egyptian faience, the oldest type of ceramic glaze, created by the Egptians. "Faience was fabricated by grinding quartz or sand crystals together with diverse amounts of sodium, potassium, calcium, magnesium, and copper oxide".[i] This particular statue of Isis and Horus was approximately seven inches high. This piece was one of many statues of Isis nursing Horus. The other figures were mostly fabricated of bronze, like a majority of other statues and figures of deities during this time period.
Isis nursing her son Horus was seen every bit a sort of symbol of rebirth for the ancient Egyptians. During this time period deities were oftentimes placed in temples and "the nigh of import was the triad (a group of three persons) of Osiris, his married woman, Isis, and their son Horus. They represented the king of the dead, the divine mother, and the living male monarch respectively, together they were the perfect family".[ii] Osiris was the god of the earth and vegetation. His married woman, Isis, was also his sister and she was the goddess of the sky. Their son Horus was the god with whom the Egyptian kings associated themselves, and he became a very prominent god. "Every bit a child, Horus was known as Harpokrates, "the babe Horus". And was portrayed as infant beingness suckled by Isis".[iii] His birth was significant because he was conceived afterward the death of his father, Osiris. The story is told that his mother, Isis, reassembled all of Osiris's parts then that she could conceive a successor for the throne.
Horus is suckling Isis in this slice, which is why the statue is sometimes referred to as the Divine Female parent nursing her babe. Isis is seated on a throne and is holding Horus'southward head in her hands. Horus is not clothed and on the correct side of his head is a single lock of hair. The object on top of Isis's head is a throne hieroglyph that represents her name.[iv]
This piece has been replicated and recreated in many unlike forms throughout history, which confirms its importance and significance in Egypt likewise as other cultures. "During later periods, Egyptians produced many pocket-size statuary statuettes of their deities, which they then gave equally tributes during pilgrimages of holy sites".[5] Figures were placed in temples as a representation of the gods and goddesses being worshipped and given offerings. The gods and goddesses of Aboriginal Egypt shaped the culture more and more during the later periods, and Isis influenced religious worship for centuries after her decease and fifty-fifty later on the end of the Egyptian empire.
[i] Joshua J. Mark, "Faience", Ancient History Encyclopedia, 2010, http://www.ancient.eu/Faience/
[ii] British Museum of Fine art Staff, "Bronze figure of Isis and Horus", http://world wide web.britishmuseum.org/explore/highlights/highlight_objects/aes/b/bronze_figure_of_isis__horus.aspx
[iii] Egyptian Myths Staff, "Horus", http://www.egyptianmyths.net/horus.htm
[iv] British Museum of Art Staff, "Bronze effigy of Isis and Horus", http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/b/bronze_figure_of_isis__horus.aspx
[five] The Louve Staff, "Statuette: Isis Nursing Horus", http://www.louvre.fr/en/oeuvre-notices/statuette-isis-nursing-horus
The Amphipolis Mosaic, fourth Century BCE
The terminal piece chosen for this digital exhibition is The Amphipolis Mosaic. Archeologists establish the Amphipolis floor Mosaic in 2014 in a tomb in Amphipolis, Republic of macedonia, Greece. This piece was called because of its mysteriousness and for the very dissimilar artistic techniques used in creating the piece in comparing to other fine art of this fourth dimension period. The Amphipolis Mosaic measures ten feet broad and fiftenn feet long and is constructed of white, black, blueish, red, yellow, and grey pebbles. The tomb in which the mosaic was found is believed to accept been under the dominion of Alexander the Great at the time the slice was constructed, and could have been the site where his mother, Olympias, was buried. Although at that place is conflicting testify suggesting other possibilities for who is buried in the tomb, Alexander wanted to brand his mother a goddess, and she held tremendous political ability even subsequently his expiry, then a tomb of this kind would have been a fitting burial place for such a prominent effigy.
The scene depicted "is identified as Hades in the process of carrying Persephone, with a lamenting female person figure (Demeter) left behind".[i] Pluto, whose earlier proper name was Hades, was in dear with Persephone and abducted her to make her his queen. Persephone, besides known as Kore, the goddess of the harvest, was the only child of Zeus and Demeter, the goddess of nature. Pluto, or Hades, was the god of the underworld, hell. Hades fell in love Persephone one twenty-four hours when he traveled to a higher place basis and saw her picking flowers in a field. One story says that Zeus, the brother of Hades and Persephone's father, was his accomplice and that they trapped her by causing the ground underneath her to split in half. "Persephone slipped beneath the Earth and Hades stole her to the Underworld where he fabricated her his married woman".[ii]
The figure leading the chariot is believed to be Hermes, the god of transitions and boundaries. This would make sense considering this scene is a depiction of the subjects traveling from Earth dorsum to the underworld. As the son of Zeus, the depiction of Hermes leading the chariot likewise becomes more plausible. Hades is driving the chariot and some say the female figure is Demeter being left behind. Nevertheless, a better supposition might be that the female person figure is actually Persephone herself, judging past the agony on her face and somber wave. Regardless of who the figure is, the raw emotion on the face of the female effigy allows a deeper level of connection with the piece of fine art.The item and dissimilar approach to this piece is what makes information technology so unique and ane of the reasons why it was chosen for this exhibition. Artists during this time period were making statuary figures and marble sculptures, not mosaic pieces from marble. Although it is but a two-dimensional work of art, the detail and calibration requite great emphasize to the scene of Hades abducting Persephone and bring it to life. "The artist enhances the story with simple gestures and lines, which create a cinematic approach where the viewer has defenseless a fleeting glimpse of a continuous activeness in a space and time".[iii] The piece again reflects the theme of the showroom every bit information technology beautifully shows the connexion between art and religion in aboriginal times.
[i] Aboriginal-Hellenic republic Staff, "Amphipolis Mosaic", http://aboriginal-greece.org/fine art/amphipolis-mosaic.html
[ii] "The Myth of Hades and Persephone", http://www.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
[three] Aboriginal-Greece Staff, "Amphipolis Mosaic", http://ancient-hellenic republic.org/art/amphipolis-mosaic.html
By Carly Strickland
Piece of work Cited
Joshua J. Mark, "Inanna", Ancient History Encyclopedia, 2010, http://world wide web.aboriginal.eu/Inanna/.
The Metropolitan Museum of Art, Art of the Starting time Cities, (New York: The Metropolitan Museum of Fine art, 2003), 24.
History.com Staff, "Hammurabi", 2009, A+E Networks, http://world wide web.history.com/topics/ancient-history/hammurabi.
Encyclopædia Britannica Online, s. v. "Shamash", accessed April 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Owen Jarus, "Karnak: Temple Complex of Aboriginal Egypt", 2012, http://www.livescience.com/25184-karnak-temple.html
Loma, "Gods of ancient Arab republic of egypt: Amun", 2010, http://world wide web.ancientegyptonline.co.united kingdom/amun.html
University of Memphis Higher of Arts & Sciences, "Welcome to the Hypostyle Hall", http://www.memphis.edu/hypostyle/staff_biographies.htm
Zarnoch, E. Sullivan, "Scarab of Amenhotep III", http://dlib.etc.ucla.edu/projects/Karnak/resource/ObjectCatalog/1854
Mark Millmore, "Karnak Temple Sacred Lake", Discovering Egypt Website, 1997, http://discoveringegypt.com/karnak-temple/
Michael Kimmelman, "Elgin Marble Statement in a New Calorie-free", 2009, New York Times, http://www.nytimes.com/2009/06/24/arts/design/24abroad.html?pagewanted=all&_r=0
B.F. Melt, The Elgin Marbles, 2nd edition (London, The British Museum Press, 1997)
Ancient-Greece.org Staff, "Greek Mythology", http://ancient-greece.org/culture/mythology.html
The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed Apr 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Joshua J. Mark, "Faience", Ancient History Encyclopedia, 2010, http://world wide web.ancient.european union/Faience/
British Museum of Art Staff, "Bronze figure of Isis and Horus", http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/b/bronze_figure_of_isis__horus.aspx
Egyptian Myths Staff, "Horus", http://www.egyptianmyths.net/horus.htm
The Louve Staff, "Statuette: Isis Nursing Horus", http://www.louvre.fr/en/oeuvre-notices/statuette-isis-nursing-horus
Ancient-Hellenic republic Staff, "Amphipolis Mosaic", http://aboriginal-greece.org/fine art/amphipolis-mosaic.html
"The Myth of Hades and Persephone", http://world wide web.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
Source: https://ancientart.as.ua.edu/ancient-arts-relationship-with-religion/
Post a Comment for "Traditionally Most Pieces of Oceanic Art Had Some Relation to the Religion of the Culture"