Compare and contrast the statue of memi and sabu with the seated statue of gudea

The fish are also very stylized and less realistic then the rest of the figure. The graduated ruler is damaged, but we can make out 16 sections, each with gradations from one to six separated by empty spaces.

This essay will seek to compare two sculptures of ancient times, the Egyptian statue of Memi and Sabu and the statue of Gudea from the Neo —Sumerian culture.

The account of the construction of the Eninnu lists the foreign countries that supplied the materials, thus revealing the power of Lagash: This two and a half foot statue made in the votive style, signifies devotion and worship with eyes cast to the gods or goddess as many interpretations suggest.

Visual Analysis of a work of art or design in the Metropolitan Museum of Art

Many votive statues held inscriptions of things that the one personified had done in honor of the gods. This leads me to perceive this devoted figure as a provider.

Maybe only standing out half an inch or so, creating contrast and drawing attention. The limestone statue displays key characteristics of Egyptian art: The two streams of water that are spilling forth from the vessel held in the figures hands are very stylized.

This piece was not created for royalty although this is made obvious by its resting place in the non-royal tombs there is other evidence that hints at the level of wealth of its owner.

The Votive Statue of Gudea: A Formal Analysis

The way that the figure may first catch your eyes with its upward stare and then as you follow the form to is center, it leads you back to the earth with water that is spilling forth, suggests sustainability, and abundance in resources. On the short sides and the outer wall, small structures are placed in recesses.

An inscription, unique in both length and content, covers almost the entire surface. While it is not imposing in scale the muscles on the shoulders and forearms are exaggerated, and the texture given to the head piece suggest a regal position. Which makes it easy to assume that the water flowing from a vase held tightly by this stout, muscular figure is of great importance.

The lines are well defined and stand out from the body of the statue, calling attention to its significance. Sculptures were an indication of social status and wealth in the Old Kingdom. This abnormal proportion draws attention to the face, chest and shoulders. Showing strength, strain, and attention the eyes are peeled widely open, looking up.

It follows the conventions of Mesopotamian clay and brick architecture: The dimple on the statues chin,curve of the lips and detailed lines of the eyebrows are made to look real, same with the feet and arms.

The inscription is here divided into compartments arranged in nine columns. The shoulders of Godea along with the rest of him excluding the head piece and inscriptions are relatively smooth, and realistic.

The citizens considered him to be an intermediary between themselves and God. This was a predominate style in many votive statues and other statues from Mesopotamia around this time period. This is in great contrast to the rivers of water that flow down both sides of his body.

The text begins with a list of regular offerings made to the statue of Gudea, as for a cult figure. The tablet also has a stylet and a graduated ruler. Their relationship is not defined in the text but it is safe to assume that they are husband and wife as pair statues usually depicted married couples in addition to this their posture indicates that they are intimate with each other.

The temple-building prince This statue shows the prince as the architect of the temple dedicated to the supreme god of the pantheon of the state of Lagash.

In addition the statue of Memi and Sabu represents husband and wife based on other statues of similar nature. The inscription ends with a long curse on anyone who might try to desecrate it.

This statue was buried with non- royal dead in a hidden chamber so that the spirit would have somewhere to benefit from food and gifts brought to them. Such personification recalls Ur-Nanshe, the prince of Lagash, who had already been portrayed carrying a hod of bricks on a perforated low relief, now in the Louvre, which dates from the middle of the 3rd millennium BC.

The walls surround an elongated, irregular space, devoid of buildings. In addition feet are not touching the ground symbolizing a man of great power and respect.

This way of expressing oneself was more important in ancient times as oppose to recent times where we have the benefit of writing books, blogs and much more are readily available.Compare And Contrast The Statue Of Memi And Sabu With The Seated Statue Of Gudea  ­Mariela Espinoza-Leon Propaganda and Political Undertones in the Seated Statue of Hatshepsut Karen Greenwalt AH Fall Final Word Count: When one thinks of ancient Egypt, images of seated pharaohs like king Tutankhamun.

Dynasty 4 Statue of Memi and Sabu. An analysis of the statue of memi and sabu Products history are the Statue of Memi and Sabu An analysis of the differences between cult and valid religions as well as the Seated Statue An analysis of stand your ground law of an analysis of controversial ballot initiative in Sabu "Compare And Contrast.

Visual Analysis of a work of art or design in the Metropolitan Museum of Art. Posted on: July 25 has both his fists clenched and is not returning his wife’s embrace whereas Memi has an arm wrapped around his wife Sabu, giving the statue a relaxed vibe.

If one were to swap out the Memi and Sabu’s attire and hairstyle this statue can. Two particular statues that have quite the historical and cultural value in art history are the Statue of Memi and Sabu as well as the Seated Statue of Gudea.

We know sculptures are used for telling the stories of a society’s practices and beliefs. "Seated Statue of Gudea, Governor of Lagash." In The Metropolitan Museum of Art: Selections from the Collection of the Ancient Near East Department, exh.

cat. Tokyo: Chunichi Shimbun, no.

An analysis of the statue of memi and sabu

4. Metropolitan Museum of Art. Gudea commissioned a large number of statues made of hard diorite showing himself standing or sitting in front of the gods of Lagash, whose temples he built or restored.

This statue, known as "The architect with a plan," is consecrated to Ningirsu, the great god of the pantheon of the state of.

Compare and contrast the statue of memi and sabu with the seated statue of gudea
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