Compare gudea and khafre

This indicates the growing influence of Gudea in Sumer. His predecessor, Urbaba, had already made his daughter Enanepada high priestess of Nanna at Ur, which indicates a great deal of political power as well. The 20 years of his reign are all known by name; the main military exploit seems to have occurred in his Year 6, called the "Year when Anshan was smitten with weapons". The continued use of lugal in reference to deities seems to indicate a conscious attempt on the parts of the rulers to assume a position of humility in relation to the world—whether this was honest humility or a political ploy is unknown.

Compare gudea and khafre

Although the images are ordered primarily by chronology, they can be used to address a variety of themes throughout the lecture to guide discussions and related assignments. Conventions in Ancient Egyptian art: This theme focuses on how certain conventions persisted over thousands of years.

Consider why certain conventions were used for such long periods of time, also discussing why certain conventions changed over time. If you have already covered the art of the Ancient Near East, comparisons can be made between the conventions of Compare gudea and khafre Egypt and those of the Ancient Near East.

Perhaps stemming from a consideration of hieroglyphs, students can see how visual images are often abstracted and standardized to emphasize certain symbolic meanings, in contrast to showing objects and people as they would appear in real life.

How does idealization relate to social and political structures? Ask students to compare with our own standards of depicting leaders in the media.

Why was art in Ancient Egypt created, and for whom was it made? The art of Ancient Egypt was largely created for elites, with visual conventions expressing consistent ideals. A persistent concern with death, burial, and the afterlife were also driving forces of Egyptian visual culture.

You might start discussion around the first object by asking your students how we prepare for major life events, posing the following questions to them: Chances are, many of your students will be able to relate to this.

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How many of you have made plans for when you die, your funeral, and your trip into the afterlife having a tomb or coffin built, deciding what to have buried with you, figuring out what the afterlife might look like?

It is less probable—although not completely unlikely! Ancient Egyptian culture was predicated in large part on a very close relationship to death, and to understand much of the material culture in this lesson, students need to understand from the beginning that Ancient Egyptians thought about death and what happened after death in a radically different way than we do today.

Death was always immanent for the peoples of the Ancient Near East, as there was so much civil unrest. It was quite the opposite in Ancient Egypt, where the ruling dynasties of kings and pharaohs created a stable atmosphere where people could plan for the end of their lives and their afterlife, much the same way some people have Ks and retirement plans today.

The Palette of Narmer provides an excellent starting point to discuss how art in Ancient Egypt was created by and for elites. Often, as it is in this case, a pharaoh commissioned artworks in order to proclaim his divine power and absolute authority through set visual conventions.

The unnatural and stylized human figures in the Palette of Narmer introduce many of the standard ways of portraying the human body including hieratic scale and the composite view. Rather than seeking to represent humans as they look in real life, bodies in ancient Egyptian art are often idealized and abstracted according to a certain canon of proportions.

The depiction of the pharaoh as an idealized, youthful, and athletic figure also reinforces the political message of the artwork, with the ruler appearing more eternal and divine than human.

Compare gudea and khafre

The majority of the images appearing in this lecture are from the Old Kingdom, which is considered a period of immense development of Egyptian art, much of which was created with a concern for preserving life after death.

Ti watching a hippopotamus hunt is typical of wall reliefs that were popular with wealthy patrons at the time. Like in the Palette of Narmer, he figure of Ti is shown in hieratic scale, meaning he is much larger than then hunters around him, illustrating his elite status.

Although Ti was not a pharaoh, he was a government official who was wealthy enough to have a lavishly decorated tomb. These images, carved onto the walls of his tomb, were meant to ensure his everlasting success in the afterlife.

This overwhelming concern for the afterlife is evident in the most canonical Egyptian Monuments, the Great Pyramids. Pyramids developed from the smaller mastaba tomb form. The intermediary architectural form was the stepped pyramid, exemplified by the Stepped Pyramid of Djoser.

The Great Pyramids at Gizeh took these architectural forms to the next level. Each pyramid has a funerary temple next to it with a causeway leading to the Nile; when the pharaoh died, his body was ferried across the river.

The pyramids themselves have elaborate internal plans with false passageways and corridors to thwart potential grave robbers. While many questions still remain regarding how the pyramids were built, they also remain as monumental evidence of the advanced engineering skill of the ancient Egyptians, their ability to mobilize a massive labor force, and again, the overwhelming importance of the afterlife.Compare the sculptures of Gudea and Khafre.

Compare a Chinese pagoda, a Han watchtower, and an Indian stupa. Discuss the Japanese aesthetic for/5(K).

Compare gudea and khafre

2. Compare the sculptures of Gudea and Khafre. The statue of Gudea comes from Lagash, in ancient Sumer, at around B.C. In this statue, the King Gudea sits on a short throne with his hands clasped in prayer. On his lap is a tablet, with the detail of a temple plan on it.

Around his throne there are cuneiform inscriptions that explain the subject matter. Oct 04,  · The votive statue of Gudea is from Girusu, c. BCE, depicts a man (Gudea the ruler of Lagash) standing tall and holding a vessel that has water flowing from it. 2 Compare the sculptures of Gudea and Khafre The statue of Gudea comes from from ART at Fortis Institute, Forty Fort.

Jan 03,  · Compare the sculptures of Gudea and Khafra. That is, similarities and differences in appearance. in attheheels.com: Resolved. Compare The Sculptures Of Gudea And Khafre Statue of Khafre In the extensive subject of art history, there are pieces of art that echo the period it was created in, the history of land and its people, and still stand to this day as a age-old reminder of the significance and value of a once era.

Are the votive statue of gudea and the khafre similar