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... ty of Babylon. The striding dragon was a portion of the decoration of one of the gates of the city of Babylon. King Nebuchadnezzar, whose name appears in the Bible as the despoiler of Jerusalem (Kings II 24: 10 - 16, 25: 8 - 15), ornamented the monumental entrance gate dedicated to Ishtar, the goddess of love and war, and the processional street leading to it with scores of pacing glazed brick animals: on the gate were alternating tiers of Marduk's dragons and bulls of the weather god And; along the street were the lions sacred to Ishtar.
All of this brilliant decoration was designed to create a ceremonial entrance for the king in religious procession on the most important day of the New Also this Magnificat sculpture Of all the rulers of ancient Mesopotamia, Gudea, end (governor) of Lagash, emerges the most clearly across the millennia due to the survival of many of his religious texts and statues. He ruled his city-state in southeast Iraq for twenty years, bringing peace and prosperity at a time when the Guti, tribesmen from the northeastern mountains, occupied the land. His inscriptions describe vast building programs of temples for his gods. This statuette depicts the governor in worship before his gods wearing the persian-lamb fur cap of the end and a shawl-like fringed robe with tables.
The serene, heavily lidded eyes and calm pose create a powerful portrait of this pious ruler. A Sumerian cuneiform inscription on the back describes the building of a temple to the goddess Geshtinanna, consort of Gudea's personal god, and the making of this statue for her. Of all the rulers of ancient Mesopotamia, Gudea, end (governor) of Lagash, emerges the most clearly across the millennia due to the survival of many of his religious texts and statues. He ruled his city-state in southeast Iraq for twenty years, bringing peace and prosperity at a time when the Guti, tribesmen from the northeastern mountains, occupied the land. His inscriptions describe vast building programs of temples for his gods.
This statuette depicts the governor in worship before his gods wearing the persian-lamb fur cap of the end and a shawl-like fringed robe with tables. The serene, heavily lidded eyes and calm pose create a powerful portrait of this pious ruler. A Sumerian cuneiform inscription on the back describes the building of a temple to the goddess Geshtinanna, consort of Gudea's personal god, and the making of this statue for her. Greek pots and vases were painted by skilled artists, but they were also strong and practical. They were not treated as ornaments, but were made only for daily use. Here is a guide to help you recognize the main shapes and styles.
The proto geometric style dates from 100 to 900 BC. Look out for circles or semi-circles on the design. Later is the style with the geometric patterns, dating from 900 - 700 BC. The 6 th century BC was the period of the orientalizing style, influenced by the East. The decoration includes animals and plants.
Some potters made cups in the form of animal or human heads. From about 400 BC, the standard of pottery declined. Pots either imitated metal vases, or were fussy and over-decorated. Recognizing shapes Greek pots and vases were painted by skilled artists, but they were also strong and practical. They were not treated as ornaments, but were made only for daily use. Here is a guide to help you recognize the main shapes and styles.
The proto geometric style dates from 100 to 900 BC. Look out for circles or semi-circles on the design. Later is the style with the geometric patterns, dating from 900 - 700 BC. The 6 th century BC was the period of the orientalizing style, influenced by the East.
The decoration includes animals and plants. Black figure ware -black figures on a reddish background- was produced between 600 and 530 Red figure ware -red figures on a black background- dates from 530 BC. Figures painted on a white background are found on vases dating from 500 BC. Some potters made cups in the form of animal or human heads. From about 400 BC, the standard of pottery declined. Pots either imitated metal vases, or were fussy and over-decorated.
Amphorae were used for storing wine. They are one of the most common types of pot. A stands and a police were also storage jars. The Greeks drank wine mixed with water, which was served from a jug, such as an one or an oinochoe. Some cups were large, so that they could be passed round all the guests at a ceremony. The handles were designed so that people lying on couches could hold them easily.
Greek women carried water in a jar, called a hydria. It was specially designed with three handles. K raters and volute k raters were bowls for mixing wine and water. Oils and perfumes were kept in small bottles, like an aryballos, an albatron and a lecythus. Pyxis used for storing cosmetics.
The sources for ancient Greek myth are myriad. Indeed, references to myth range from those written by contemporary Greek historians and authors; to poems composed in honor of the gods and goddesses; to plays (comedies, tragedies, and so-called satyr plays) meant to dramatize man's relationships with the divine (and sometimes man's aspirations to be divine... ); to works of art created to represent a particular deity, hero, or mythical creature. Truly, to compile a complete list of ancient sources is far beyond the resources of most individuals. However, the alternative is probably more useful, in that a description of the major characters of Greek myth has the Greek Art and Architecture, painting sculpture, buildings, and decorative arts produced in ancient Greece, from about 1050 BC to 31 BC.
Greek civilization encompassed not only mainland Greece but also nearby islands in the Aegean Sea, the western coast of Turkey (known as Ionia), southern Italy and Sicily (known as Magna Graecia, or Great Greece), and by the late 300 s BC, Egypt, Syria, and other Near Eastern lands. Among its best-known monuments are stone temples, statues of human figures, and painted vases. The importance of Greek art and architecture for the history of Western civilization can hardly be overstated, for the Greeks established many of the most enduring themes, attitudes, and forms of Western culture. The stories told in Greek art and literature of gods and heroes have been retold ever since and continue to form a common ground for the art, literature, and even popular culture Greek artists were the first to establish mimesis (imitation of nature) as a guiding principle for art, even as Greek philosophers debated the intellectual value of this approach. The repeated depiction of the nude human figure in Greek art reflects Greek humanism belief that "Man is the measure of all things, " in the words of Greek philosopher Protagoras. Architecture is another Greek legacy that the West has inherited, as Greece established many of the structural elements, decorative motifs, and building types still used in architecture today.
Painting, branch of the visual arts in which color, derived from any of numerous organic or synthetic substances, is applied to various surfaces to create a representational or abstract picture or design. This article traces the history of Western painting; for its development in other cultures, see cross-references at the end of this article. The importance of Greek art and architecture for the history of Western civilization can hardly be overstated, for the Greeks established many of the most enduring themes, attitudes, and forms of Western culture. The stories told in Greek art and literature of gods and heroes have been retold ever since and continue to form a common ground for the art, literature, and even popular culture of the Western world. Our knowledge of ancient Greek painting, especially wall and panel painting, is limited by the small number of examples that have survived. Most of what we know about Greek painting comes from ancient literary sources, surviving Roman copies, and a number of Greek vases and mosaics that probably reflect some of the attributes of Greek wall paintings.
Literary sources mention only a handful of painters' names from the Archaic period, including Cleanthes of Corinth, Boularchos, and Cimon. For the most part scholars can only guess at how these paintings looked, but some evidence survives in scraps of paintings by unknown artists that decorated the walls of a temple at Isthma, near Corinth; in painted terracotta metope's from Throw in western Greece; and in a few wooden and clay plaques Some of the most complete surviving examples of early Greek panel painting are scenes of banqueting and diving painted by an unknown artist for a tomb at Paestum, Italy (490? - 470? BC, Museo Archeologico, Paestum). The figures in the Paestum frescoes show skillful drawing and a developed understanding of human anatomy. The artist has drawn eyes in profile, instead of frontally, and included elements of landscape. Bibliography:
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Research essay sample on Greek Myth Religious Texts
