The Art Term When You Use Other Cultures Pieces
Carly Strickland
Religion and the beliefs of the cultures of the ancient world played a huge function in the art that was created. Through this digital micro-exhibition visitors should experience the strong human relationship between many great works of art and religion. From deities to gods and goddesses, religious narratives, and beliefs shaped the cultures of Mesopotamia, Egypt, and Greece.
As each piece of art in this exhibition is viewed and the cultures in which they were created are studied, comparisons can be drawn to the religious beliefs of the viewer, and it is the hope of the curator that each viewer volition notice some joy in seeing these pieces from this interesting perspective. A clear understanding of the liberty we have in America to worship and follow any conventionalities system we choose can exist overwhelming when one thinks near the uniqueness of these freedoms. There is definite beauty in existence able to represent these conventionalities systems through works of fine art. Consider the societies and cultures of the ancient past as well as the present, and consider your freedom in this melting pot of cultures in which nosotros alive.
Here are some questions to ponder while viewing these pieces: What kind of fine art would these cultures have created if religion and beliefs had not influenced the art so profoundly? Would those cultures have had any art at all? How can yous relate your own behavior to these cultures? How does faith play a role in art today?
The curator of this exhibit recently watched a movie about Dinah, the daughter of Jacob and sister of Joseph which sparked a connectedness between art and her own behavior. The women in the rent tent were worshiping Inanna, the goddess of beloved and fertility. Although the fictional volume and Television receiver series may non have been entirely true to the Bible it withal evoked a sense of what other gods the tribes and people of that time worshipped other than the God of the Bible. The commandment "You shall accept no other gods before me," came to life in that moment. Although at times in Evangelical teaching, the "other gods" tin be 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 really worshipped idols, and clay figures. So hopefully each viewer of this exhibit tin can observe a connection to these pieces and the cultures from which they came, and these connections will farther open hearts and minds to the many cultures of the globe.
Warka Vase, Uruk, (modern solar day Warka, Iraq) c. 3300 – 3000 BCE
The Warka Vase is made from alabaster, a form of marble, and stands approximately 36 inches loftier. The piece was found in the Temple Circuitous of the Sumerian goddess Inanna. Inanna was the patron deity of Uruk and is often mentioned with the other three Mesopotamian deities of Uruk – Anu, Enki, and Enlil. Her proper noun is oft accompanied by the symbol of a reed stalk tied in a hook at the top adjacent to it. Inanna was believed to be the goddess of love and war and was later believed to be the goddess of fertility. While Inanna was the goddess of love, she was not the goddess of union. She was associated with sexual beliefs. In each story that is told almost her she is never an innocent bystander. She is always sly, manipulative, "violent and lusting later on power". 1 of many examples of Inanna'south manipulation can exist found in the Ballsy of Gilgamesh. Gilgamesh was ii-thirds god and one-third man, and Ishtar, Inanna'south Akkadian counter-part, savage in love with him the offset time she laid eyes 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 not return the aforementioned affection towards her to which she took great offense. Ishtar had her male parent, Anu, make a divine balderdash 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 equally planned, only someone's life was still 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 day'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 bottom register shows a procession of animals walking to the right. The middle register shows nude men carrying vessels walking to the left in the opposite direction of the animals. The top register seems to depict the performance of a cede or offering and shows a bearded bull which often represents deity. The direction switching from left to correct gives a sense of movement up to the temple starting from the lesser register of the vase and proceeding to the top annals. 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 and so complete at the cease of the fourth millennium, when the vase was produced, that depictions of figures lack indicators of divinity".[2] Union between deities and humans was believed an essential stride 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-king in the Warka Vase is why the piece was chosen for this digital exhibition. Inanna "…brings knowledge and culture to the city of Uruk" .[3] She was said to be the source of abundant harvests, power, and protection of the kings.
[i] Joshua J. Mark, "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 Art, 2003), 24.
[iii] Joshua J. Mark, "Inanna", Ancient History Encyclopedia, 2010, http://www.aboriginal.european union/Inanna/.
Babylonian Stele of Hammurabi, Fabricated in Babylon, Erected at Sippar, Constitute in Susa, c. 1792-1750 BCE
The Stele of Hammurabi is an art piece and code of laws that was found in aboriginal Susa, and commissioned past Hammurabi, the sixth male monarch of Babylon. The stele is made of diorite and is 7.iv feet alpine, which emphasizes its significance. The principal purpose of the slice was to serve as political propaganda, reminding those in the towns of Hammurabi'due south kingdom of his rule and his laws. While the bottom portion serves every bit political propaganda the top 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 made famous because of Hammurabi's greatness and military prominence. "Hammurabi combined his military and political advances and irrigation projects and the structure of fortifications and temples celebrating Babylon'south patron deity Marduk".[i] Hammurabi implemented one of the earliest forms of legal codes in aboriginal Babylon. "His code, a collection of 282 laws and standards, stipulated rules for commercial interactions and set fines and punishments to meet the requirements of justice".[two] "An middle for an heart, a molar for a tooth" is an example of one of the harsh punishments that Hammurabi enforced. Hammurabi's Code was written in cuneiform script, the primeval organisation of writing, which was developed past the Sumerians. It is divided into three parts, a prologue, epilogue, and two literary passages describing the 282 laws. The prologue describes Rex Hammurabi's role as protector, his empire, and triumph. The epilogue is a lyric and summary of Hammurabi's legal work and groundwork for the time to come. The two literary passages were put into layman's terms so anybody could empathize the terms of the laws. The punishments were written as provisional statements, for example, "If a man knock out the teeth of his equal, his teeth shall be knocked out".
Shamash, the sunday god, who is seen in the pinnacle half of the stele, was likewise the god of police force and justice, which explains why he is holding a staff and ring. He was an Akkadian god who "exercised the power of lite over darkness and evil".[3] When comparing the Stele of Hammurabi to the Shamash Stele you lot tin can see that there is no division between Hammurabi, the rex, and Shamash, the deity. Information technology gives a sense of unification between the ii. The Victory Stele of Naram-Sin shows Naram-Sin portraying himself equally a god, so in comparison the two, the Stele of Hammurabi holds to the tradition where the king is however the negotiator with the deity and submits to the power 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 instance the relationship is also used equally political propaganda to ensure that the people of Babylon submit to the Hammurabi code – a legal system implemented "to prevent the strong from oppressing the weak and to see that justice is washed to widows and orphans".[iv]
[i] History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/ancient-history/hammurabi.
[ii] History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/aboriginal-history/hammurabi.
[iii] Encyclopædia Britannica Online, s. five. "Shamash", accessed April 21, 2015, http://world wide web.britannica.com/EBchecked/topic/538274/Shamash.
[4] History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/ancient-history/hammurabi.
Temple Circuitous at Karnak, c. 1292-1190 BCE
The Temple Complex at Karnak is institute in Thebes on the east banking company of the Nile River. The ancient Egyptians knew the temple of Karnak every bit Ipet-isu—or "most select of places"—.[i] It is considered the largest temple complex on World. It pays tribute to the deities Amun (Amun-Ra), Khnosu, and Mut. It is fabricated up of courts ascribed to over thirty different kings, 3 chief temple precincts, Hypostyle Hall, the sacred lake, and Scarab statues.
The largest temple in the complex is the Temple of Amun (Amun-Re), the Rex of the gods. The other 2 temples are the temples of his wife Mut, and son Khnosu. Amun was i of the almost important gods in ancient Egypt, and once united with Ra, the dominicus god, he was the most powerful. "Amun-Ra was considered to be the begetter and protector of the pharaoh".[ii] 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 18th Dynasty often associated herself with Amun, and 1 grade of propaganda even said that she was the daughter of Amun.
The Smashing Hypostyle Hall congenital by Sety I, the 19th century pharaoh, is the well-nigh grand of the buildings at Karnak, even in the presence of the temples of gods and goddesses. The Hall is a 54,000 square anxiety wood of 134 columns. The columns are 45' broad and approximately 70' tall. "Not only does the calibration and abyss of this monument remain a rarity amongst ancient Egyptian temples, but is also the largest and most elaborately decorated of all such buildings in Egypt".[three] There is corking detail in the relief carvings throughout the hypostyle. "The patchwork of creative styles and different majestic names seen in these inscriptions and relief sculptures reflect the different stages at which they were carved over the centuries".[iv] Some of the relief's include; Sety I offering two flowers, Ramesses 2 offering incense, Ramesses IV offer 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 past 252 feet and was dug by Tuthmosis 3. The lake represents the remembrance of the void of chaos, memorial witness, and the commencement point of cosmos. It is a place of purification and is where the priest would bathe himself before sacred rituals. The goose is a symbol of Amun and the sacred geese of Amun also lived in the lake.
The Scarab of Amenhotep Three, dung beetle and granite statue, was an keepsake of the cycle and nature of creation. The dung protrude was an insect associated with the sun god Khepri. "The plinth is busy with a lightly inscribed sunk relief scene of a kneeling Amenhotep Three offering to Khepri who is seated on a low throne. A winged solar disk extends over their heads".[v] The Scarab is fastened to the sacred lake, almost every bit if they are standing baby-sit, continuing between chaos and the residual of the earth.
The Temple Complex at Karnak, filled with sacred buildings and rich culture, holds swell significance to Egyptian history. "Information technology is the largest religious building always made, covering virtually 200 acres, and was a place of pilgrimage for nearly 2,000 years".[vi] This virtual exhibit would not take been complete without the Temple Complex at Karnak taking an advisable place considering the amount of religious ceremonies and practices that took place there.
[i] Owen Jarus, "Karnak: Temple Circuitous of Ancient 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.britain/amun.html
[iii]University of Memphis College of Arts & Sciences, "Welcome to the Hypostyle Hall", http://www.memphis.edu/hypostyle/staff_biographies.htm
[iv] University of Memphis Higher of Arts & Sciences, "Welcome to the Hypostyle Hall", http://world wide web.memphis.edu/hypostyle/staff_biographies.htm
[5] C. Zarnoch, E. Sullivan, "Scarab of Amenhotep III", http://dlib.etc.ucla.edu/projects/Karnak/resource/ObjectCatalog/1854
[vi] Mark 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 also known equally the Elgin Marbles, named afterward the viithursday Earl of Elgin, Thomas Bruce who sold the marbles to Britain when Hellenic republic was under the dominion of the Ottoman Empire. The Elgin Marbles nonetheless to this day reside in the British Museum, which has led to a rather heated debate. "U.k. used to say that Athens had no acceptable place to put the Elgin Marbles, the more than half of the Parthenon frieze, metopes and pediments that Lord Elgin spirited off when was administrator to the ottoman empire two centuries ago".[i] At present that the Acropolis Museum is a fully operation museum with state of the art engineering science to help preserve and restore fine art, U.k.'s statement is invalid. The debate still continues and further questions to whom ownership belongs and whether repatriation is the right thing to do or non. Art does assist define a culture and its ways simply do other people deserve see the fine art too? Would people appreciate fine art as much if there weren't places like encyclopedic museums where they tin meet these pieces kickoff hand?
This particular marble metope from the Parthenon depicts a scene of "A fight betwixt a human Lapith and a Centuar".[2] Lapith'south were Greek mythological people who lived on Mountain Pelion and were known for their rivalry with the Centaurs. Centaurs were creatures that were part man and part equus caballus and descended from Centaurus, the son of the music god, Apollo. The story the scene was taken from was of Centaurs get-go encounter with wine. The Lapith'south were throwing a wedlock feast for their King, Peirithoos, and gave the Centaurs wine. The Centaurs got unruly and their leader, Eurytion, tried to accept advantage of the bride. This caused uproar and "a general boxing ensued, with the Lapiths finally victorious".[iii]
This scene is portraying the victory of the Lapith'south over the Centaurs. The nude Lapith male is in the forefront of the sculpture showing potency. The opinion of the Centaur is uncomfortable and like he is in pain, and the stance of the Lapith is more relaxed and over powering. The defeat of the Centaur is shown very clearly on his face, and fifty-fifty though the Lapith is faceless, his body shows his victory. "The composition is perfectly balanced, with the protagonists pulling in contrary directions, effectually a cardinal space filled by the cascading folds of the Lapith's cloak".[four]
The connection this piece has with this exhibit is that Centaurs are descendants of Appollo'south son, Centaurus, and that Lapith'southward are humans derived from greek mythology. In this particular slice in that location is not a god or goddess existence worshiped or offered sacrifices, but the slice gives a sense of how Greek civilization was shaped around Greek mythology and the gods. Countless stories were told and art was made to visualize those stories. "The aboriginal Greek spiritual beliefs, religion, and oral tradition are all reflected and formulated through rich myths and legends that besides entertainment provided an articulation of the moral fiber of the Greek culture as information technology evolved through at to the lowest degree two thousand years".[5]
[i] Michael Kimmelman, "Elgin Marble Argument in a New Light", 2009, New York Times, http://www.nytimes.com/2009/06/24/arts/pattern/24abroad.html?pagewanted=all&_r=0
[ii] B.F. Cook, The Elgin Marbles, 2nd edition (London, The British Museum Printing, 1997)
[iii] B.F. Cook, The Elgin Marbles, 2nd edition (London, The British Museum Printing, 1997)
[iv] B.F. Cook, The Elgin Marbles, 2nd edition (London, The British Museum Press, 1997)
[5] Aboriginal-Greece.org Staff, "Greek Mythology", http://aboriginal-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 1 of the about famous sculptures from the Hellenistic time period, around 200 BCE. The sculpture was discovered in 9 pieces, one seemingly life-sized, by a farmer in his vineyard on Esquiline Colina, was excavated in 1506, and placed in the Vatican where nevertheless housed today. The discovery of Laocoon sparked the imaginations of artists from Raphael to Michelangelo, condign the standard for artful dazzler in art for the next several centuries. One tin can certainly see the influence of this slice on the concrete 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 after the sculpture besides, and Napoleon even captured the piece for his Louvre for a fourth dimension. Somewhen Laocoon was returned to the Vatican. Continuing around eight feet tall, Lacoon and His Sons is sculpted from marble. The sculpture illustrates the scene of Laocoon and his 2 sons being attacked by bounding main serpents.
Laocoon was a Trojan priest and was said to be the priest of Poseidon. Some say he was also the priest of the god Apollo. The Trojan War could take been prevented if the Trojans had listened to Laocoon the solar day the Greeks brought the Trojan horse into the city. Laocoon tried to warn them against bringing the horse into the city considering 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 by sending two ocean serpents, Porces and Chariboea, to attack his two sons and him. Another narrative says that, "Laocoon offended Apollo by breaking his oath of celibacy and begetting children or past having sexual intercourse with his wife in Apollo's sanctuary".[i] Apollo sent two serpents to impale Laocoon and his sons while he was sacrificing a bull at Poseidon'southward altar. Whichever tale is truthful, both stories show that the gods and goddesses interacted with humans regularly just were not e'er trustworthy and did non always fight on the side of the humans.
The musculature in this sculpture shows the idealized body type of Grecian males during this time period of aboriginal Greece. The males were warriors and were expected to exist the most fit. This slice shows a very intense narrative moment and emphasizes this by exaggerated tension in the bodies. Ane son seems to be breaking free of the grip of the sea serpents when he looks across to meet his begetter and brother in the agony of their deaths.
This slice was chosen for this exhibit considering of the relationship between Laocoon and the gods and goddesses, which besides once again illustrates how gods and goddesses were part of everyday life in Greek civilisation, and for its influence on generations of artists centuries subsequently the original sculpture was fabricated.
[i] The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed April 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 most important goddess of ancient Egyptian history as she was worshipped not merely in Egypt, but also throughout Italian republic and Hellenic republic, and her influence lasted long later the demise of the Egyptian empire. The Statuette of Isis and Horus was made of Egyptian faience, the oldest type of ceramic glaze, created by the Egptians. "Faience was made by grinding quartz or sand crystals together with various amounts of sodium, potassium, calcium, magnesium, and copper oxide".[i] This particular statue of Isis and Horus was approximately seven inches high. This slice was i of many statues of Isis nursing Horus. The other figures were generally made of bronze, like a majority of other statues and figures of deities during this fourth dimension catamenia.
Isis nursing her son Horus was seen as a sort of symbol of rebirth for the ancient Egyptians. During this time flow deities were often placed in temples and "the most important was the triad (a group of three persons) of Osiris, his wife, Isis, and their son Horus. They represented the king of the expressionless, the divine female parent, and the living male monarch respectively, together they were the perfect family".[two] Osiris was the god of the world and vegetation. His wife, 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. "As a child, Horus was known as Harpokrates, "the babe Horus". And was portrayed every bit infant beingness suckled by Isis".[iii] His nascency was significant because he was conceived afterwards the death of his begetter, Osiris. The story is told that his mother, Isis, reassembled all of Osiris's parts so 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 Mother nursing her infant. Isis is seated on a throne and is holding Horus'south head in her easily. Horus is non 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 proper name.[iv]
This piece has been replicated and recreated in many different forms throughout history, which confirms its importance and significance in Egypt as well as other cultures. "During subsequently periods, Egyptians produced many small bronze statuettes of their deities, which they then gave equally tributes during pilgrimages of holy sites".[v] Figures were placed in temples as a representation of the gods and goddesses being worshipped and given offerings. The gods and goddesses of Ancient Arab republic of egypt shaped the civilisation more than and more during the subsequently periods, and Isis influenced religious worship for centuries after her death and fifty-fifty later on the end of the Egyptian empire.
[i] Joshua J. Mark, "Faience", Aboriginal History Encyclopedia, 2010, http://world wide web.ancient.european union/Faience/
[ii] British Museum of Fine art Staff, "Statuary figure of Isis and Horus", http://www.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
[v] The Louve Staff, "Statuette: Isis Nursing Horus", http://world wide web.louvre.fr/en/oeuvre-notices/statuette-isis-nursing-horus
The Amphipolis Mosaic, 4th Century BCE
The final piece chosen for this digital exhibition is The Amphipolis Mosaic. Archeologists found the Amphipolis floor Mosaic in 2014 in a tomb in Amphipolis, Macedonia, Greece. This piece was chosen because of its mysteriousness and for the very different artistic techniques used in creating the slice in comparison to other art of this time period. The Amphipolis Mosaic measures ten feet wide and fiftenn anxiety long and is synthetic of white, black, blue, red, xanthous, and gray pebbles. The tomb in which the mosaic was found is believed to have been under the rule of Alexander the Swell at the time the slice was constructed, and could have been the site where his mother, Olympias, was buried. Although there is conflicting evidence suggesting other possibilities for who is cached in the tomb, Alexander wanted to make his mother a goddess, and she held tremendous political power even after his death, and so a tomb of this kind would accept been a plumbing fixtures burial identify for such a prominent figure.
The scene depicted "is identified equally Hades in the process of conveying Persephone, with a lamenting female figure (Demeter) left behind".[i] Pluto, whose earlier proper noun was Hades, was in dear with Persephone and abducted her to make her his queen. Persephone, as well 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 beloved Persephone one day when he traveled to a higher place ground and saw her picking flowers in a field. I story says that Zeus, the brother of Hades and Persephone'south father, was his cohort and that they trapped her by causing the footing 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 brand sense because this scene is a depiction of the subjects traveling from Earth back to the underworld. As the son of Zeus, the depiction of Hermes leading the chariot besides becomes more plausible. Hades is driving the chariot and some say the female person figure is Demeter being left behind. Notwithstanding, a better supposition might exist that the female figure is really Persephone herself, judging by the agony on her face and somber wave. Regardless of who the figure is, the raw emotion on the face of the female figure allows a deeper level of connection with the piece of art.The detail and unlike approach to this piece is what makes it so unique and ane of the reasons why it was chosen for this exhibition. Artists during this time catamenia were making bronze figures and marble sculptures, non mosaic pieces from marble. Although it is just a two-dimensional work of fine art, the particular and calibration give great emphasize to the scene of Hades abducting Persephone and bring it to life. "The creative person enhances the story with simple gestures and lines, which create a cinematic approach where the viewer has caught a fleeting glimpse of a continuous action in a space and time".[iii] The piece over again reflects the theme of the exhibit every bit information technology beautifully shows the connexion between art and religion in aboriginal times.
[i] Aboriginal-Greece Staff, "Amphipolis Mosaic", http://ancient-greece.org/fine art/amphipolis-mosaic.html
[ii] "The Myth of Hades and Persephone", http://www.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
[iii] Ancient-Greece Staff, "Amphipolis Mosaic", http://aboriginal-greece.org/art/amphipolis-mosaic.html
By Carly Strickland
Piece of work Cited
Joshua J. Marking, "Inanna", Ancient History Encyclopedia, 2010, http://world wide web.ancient.european union/Inanna/.
The Metropolitan Museum of Art, Fine art of the First Cities, (New York: The Metropolitan Museum of Art, 2003), 24.
History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/aboriginal-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 Ancient Egypt", 2012, http://world wide web.livescience.com/25184-karnak-temple.html
Hill, "Gods of ancient Egypt: Amun", 2010, http://www.ancientegyptonline.co.united kingdom/amun.html
University of Memphis College of Arts & Sciences, "Welcome to the Hypostyle Hall", http://www.memphis.edu/hypostyle/staff_biographies.htm
Zarnoch, E. Sullivan, "Scarab of Amenhotep 3", http://dlib.etc.ucla.edu/projects/Karnak/resource/ObjectCatalog/1854
Mark Millmore, "Karnak Temple Sacred Lake", Discovering Arab republic of egypt Website, 1997, http://discoveringegypt.com/karnak-temple/
Michael Kimmelman, "Elgin Marble Statement in a New Light", 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, twond edition (London, The British Museum Press, 1997)
Aboriginal-Greece.org Staff, "Greek Mythology", http://aboriginal-greece.org/culture/mythology.html
The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed April 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Joshua J. Marker, "Faience", Ancient History Encyclopedia, 2010, http://www.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-Greece Staff, "Amphipolis Mosaic", http://ancient-greece.org/fine art/amphipolis-mosaic.html
"The Myth of Hades and Persephone", http://www.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
Source: https://ancientart.as.ua.edu/ancient-arts-relationship-with-religion/
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