The pose of the Virgin and Child from the Auvergne Region in France is known as the Throne of Wisdom and depicts Christ as the incarnation of wisdom itself. As in many other pieces of artwork depicting the two features, Mary is holding Christ in her laugh, once again playing the part of his imperial throne. Statues like this were devotional objects and were used for ceremonial events or processions, carried above a crowd signifying importances.

Influenced by early medieval art and humanistic style. the Renier of Huy was commissioned by Hellenius of Notre Dame, considered an abbot, or a head of abbey monks.The twelve oxen represent the twelve apostles and the basin was used as the baptismal area. The Koran Paradise theme is depicted by the trees and the ripples indicating a river.

Both pieces almost represent two steps of a process, in a way. The first uses people to represent a spiritual literality, while the second uses animals to represent a spiritual, human literality.

From 6th century Denmark, the Gummersmark Brooch is made of silver gilt and is a little less that six inches tall. It employs the animal style that was prevalent in the tie period and each section of the piece is very precisely and intricately made. Notice the large, rectangular, medallion-like plates for posting, the arches bow, and the repeated animal theme decorations. You can see a man compressed between two dragons, recurring beaks and eyes, monster heads, and crouching dogs, as well as the recurring geometric motif emphasized by the symmetry of the piece. These images depict the spiritual process of turning from human into animal, also called anthropomorphism. The surface was polished with a glittering material to emphasize the value and worth.

The High Cross of Muiredach found in Ireland was modeled after the metal crosses made during the time period out of sandstone and was used as container for holy relics. The designs on the cross are very details and tell countless stories from the bible. The panels show images like Moses striking the rock for water, David and Goliath, Cain and Abel, and Adam and Eve. There are figures around Christ who sits in his majesty at the intersection of the cross such as David, the devil, and a recurring dove that represents the Holy Spirit. The symbolism and imagery of the cross is very intense, seeing as it depicts the devil attempting to tear souls away from Christ while good souls are looking toward the Magi with adulation.

Both pieces here represent a spiritual journey, however to very different paths. The Brooch could almost be used for some kind of pagan explanation, while the cross is a very orthodox, Christian piece of artwork.

The Pueblo Bonito remnants in New Mexico tells a beautiful story of a thriving community and it’s effect on countless other areas. Dating from 830 to 1250 CE, Pueblo Bonito was the largest “great house,” so large that it had to be built in stages between the tenth and mid-thirteenth centuries, with 800 rooms and about four stories. It was built in a “D” shape and there were thirty-two kivas, or partially submerged pit houses, along the crescent side of the structure. Inside, people performed religious ceremonies and youth were instructed on their social and labor responsibilities. The roof was formed out of interlocking pine logs in a dome shaped with a hole at the pinnacle for men to climb down through on an extended ladder. Directly under the hole was what was called the “navel of the earth” where the early Pueblo anthology claimed was the entrance from which the original, “first time” Pueblo ancestors entered. The structure had roadways that stemmed off to 70 other communities and served as a “home base.” The pathways never strayed from a direct path despite obstacles such as hills that could be avoided or gone around. This indicates that they served more of a purpose than just travel functionality, such as ritualistic processions.

This photo of the Ancient Ruins in the Canon De Chelley arizona, taken in 1873 by Timothy O’Sullivan, shows the area in an exaggerated but beautiful. Above the gaping, dark hole at the mid-left side of the image are the sedimentary lines shown in an exaggerated way that would not be as obvious from a different angle or lense. The emphasis on the lines also distracts from the ruins that the eye is less likely to wander to. In most landscape images there is a specific light source shown, however there is not in this image. The light vs. dark motif is still used in other ways though.

The first image depicts the ruins–or the leftovers–of the structure as the subject of the picture, while the second image distracts from it. This is most likely due to the fact that the purpose of the focus of the former image was solely to document the artistry, while the latter image was used as an exploration to find war-campout sites.

This first image is a Zoomorphic Mask from Angola dating back to about 750 CE. It is made very expertly of wood, carved into the shape then polished over with a sandpaper-like surfaced substance. Because the mask needed to be so precise, very specific tools were used by expert craftsmen. Notice the elongated snout, most likely implemented to serve the purpose of covering the wearer’s face. The pointed ears were possibly meant to draw attention to the upper part of the piece as well as emphasize awareness of the wearer’s surroundings. The mask employs the recurring geometric, symmetry motif as well. There are over 750 similar mask pieces found in the Kongo River Valley, and most that exist today are replicas due to wood’s tendency to rot over time.

The second image shown is of  Decorated Textile from the Kongo, early in the 17th century. During the time period and in the area, textiles were extremely valuable. Along with baskets and nobility regalia, it was collected and even used as currency. Later on, it was also displayed in funerary rituals. Part of the reason these textiles were of such great worth was the pure cotton material as well as–often– the gold threads woven into textiles like this one. The pattern is definitely and purposefully geometric adding to the aesthetic value in contrast with previous stylized artwork.

Although the mask was very useful and often difficult to make, it was not as valuable as the textiles were to the area and time period. The former was used for practical purposes, the latter was used as anything from decoration to a collectible.

This encaustic on wood is found in the monastery of St. Catherine, Mount Sinai, Egypt, and it was created in the second half of the sixth century, called the Virgin and Child  with Saints and angels. The image depicts Mary, the mother of Christ, holding her child in her lap, implying that she has become her son’s imperial throne. This is called the “seat of wisdom.” The warrior saints Theodore and George stand on either side of them and represent the victory of the church over the evil spirits of paganism. Above the four figured are two angels with their gazes directed heavenward from where light falls upon the virgin and child. The warrior saints stare directly ahead without much expression depicting stoicism and permanence. Most of the figures are pretty natural and life-like, however the warriors are slightly more stylized to emphasize, again, their other worldliness.

This image depicts the crucifixion and two iconoclasts. Iconoclasm was the destruction and prohibition of images and other pieces of artwork depicting Christ as a deity. The general fear was that these images promoted idolatry, and worshippers began to pray to the artwork rather than through it. In fact, people went as far as eating paint chips that had fallen off of these paintings because they believed they had miraculous powers. In the image you see a soldier “tormenting” Christ on the cross to his right and below, two iconoclasts destroying an image of him.

The first image would have been a candidate for destruction by iconoclasm because it was in danger of becoming an idol; not only did it have Christ in it, but it also had Mary in it. Mary’s cult following and worship would begin not long after this time period. As for the artwork, the styles are not exactly the same but they are not far off. The bodies are not completely natural, but they are not stylized to a great extent.

Although the first image is more widely known and appreciate, there was a time when the second had the potential to determine the fate of the first. It is almost divine how the image survived the events of that period.

Commissioned in 1580 by either his son Tiberius or his wife Livia, this Augustus of Prima Porta is a copy of the bronze original which dated back to about 20 BCE. The figure is posed in a speech-giving stature, and is based off the Doryphorus, or the ideal, athletic male. His right arm is stretched out in a noble gesture which is counterbalances by his bent, left leg. He has a broad cranium and deep set eyes, his face being depicted in the manner of Apollo to portray himself as a perfect leader with flawless features. His stature indicates that he had a firm ability to a society and empire.

Unlike Augustus, the Imperial Procession is a relief sculpture that surrounds the Ara Pacis. It is meant to represent the annual sacrificial procession at the order of the senate. The figures most likely represent priests and members of Augustus’ family, but there are no firm identities. The Ara Pacis was designed to celebrate Augustus’ return from the war in Spain and Gaul. There are higher and lower relief figures as well, which adds depth and portrays a sense of space. The relief was originally painted.

Both pieces of work were meant to honor Augustus, in one way or another. The first, depicting Augustus himself in a light that is bold and practically perfect, however false the depiction may be. The second is dedicated to him as almost a shrine. However, ironically, and according to Mary Ann Sullivan of Bluffton University, the actual inauguration, or ceremonial dedication, did not occur until about three and a half years later.

Works Cited

Sullivan, Mary Ann. “Images of the Ara Pacis.” Images of the Ara Pacis. Bluffton University, n.d. Web. <https://www.bluffton.edu/~sullivanm/italy/rome/arapacis/arapacis.html>.

The Young Woman Gathering Crocus Flowers from about 1630 BCE is a very representative image. Her shaved head symbolizes her youth while her ponytail symbolizes her ascent into adulthood. Likewise, she is gathering saffron from crocus flowers which was a commonly used herb to help alleviate menstrual cramps. The lines are very fluid and nonrigid, presenting a free flowing effect. The image is soft and is meant to represent the soft touch of sanctity of the process being depicted.

The Leaping Bull from the Palace at Knossos, 1450-1400 BCE, depicts the extremely dangerous ritual of bull-leaping. It possibly represents a symbol of divinity as the bull reoccuringly depicts, a literal demonstration of athletic ability, or a religious ritual; we aren’t entirely sure. While the process is perilous, the fresco here demonstrates a similar style to the girl gathering crocus flowers. The bull is painted with fluid lines and soft, natural colors. The image is also very stylized and could very well be metaphorical.

It seems there is a recurring motif of ascending to some higher level of existence, or achieving something that was unachievable before. Both frescos embody a sense of accomplishment and growth, and it’s a very fluid ascent.

This image of Menkaure and his queen sends a very clear message. Menkaure is an athletic man of good stature, he has an artificial beard symbolizing his kingship, and his pose is balanced, with one foot extending in a step- probably representing progress or forward movement. The woman by his side is near perfection as well; she has good posture and is beautiful in a traditional sense. She holds Menkaure in a “loving embrace,” standing closely by his side. She mimics his stepping action which is unusual because the common position for statues of women during the time period held the feet together. This copying most likely represents her devotion to him as a husband as well as a ruler.

This painted limestone portrait of Akhenaten and His Family has two similar people– a man of power and his female companion– but they are presented in an entirely different light. The relief sculpture is technically an official portrait, and portrays family life. Unlike the statue, this sculpture depicts Akhenaten and his wife, as well as his children, in a much more relaxed, domestic manner. Aten, being represented by the sun-like circle at the head of the image, is blessing the mother and father with the “breath of life,” depicted by the rays extending down to their mouths and nostrils. The scene is filled with love and happiness, a very relaxed state of living. The “king” s not a king in this seen, but rather a devoted father next to a devoted mother.

The difference in the pictures seems to be the image a ruler must exude in one facet of his life, and the image he wishes imbody in all facets. He must be powerful, confident, and stoic. But he cannot be any of these things if he does not have a loving, firm foundation to plant his feet into. Albeit cheesy, but true, even in Ancient Egypt.

The Statuettes of Worshippers from Eshnunna, 2700 BCE, are designed very specifically, and with intent. The wide eyes and the upturned head are always watching and waiting for the Gods; the folded hands constantly in a state of prayer. The hands are small, possibly representing a lack of power or ability, and the clothing is simple, representing humility and lowliness in comparison to the gods. Let’s also consider the large legs and feet, most likely representing a firm foundation, an intent to stand still; a stoic nature of dedication. The statuettes were designed to hold the place of human beings while they went about their lives, providing a specific purpose.

If we compare the statue of Gudea, we come across some of the same features, and some contrasting ones as well. For example the feet are large and firmly planted, while the stone is made of diorite, again, probably indicating a stoic attitude and intention. His garments, however, are covered in inscriptions of some sort, providing him more detail and importance. His hands are large, unlike the worshipper, probably placing emphasis on his good deeds, such as rebuilding the destroyed temples. Like Malraux asserts in his book The Metamorphosis of the Gods,  the ziggurat served no architectural purpose, similar to the statuettes; however, they did have more practical purposes in general.

The most interesting piece of this concept, statues and sculptures representing Gods, humans, and better humans (for lack of a better term), all originate somewhere. In other words, someone has to make them, there has to be an artist. By creating these figures, the ziggurat specifically, the artist becomes a worshipper, god, and temple all at once. (Malraux) He gave his time and energy to create one of these objects; identifying with it, giving his service to it, and respecting it as a work of art, or a work of functionality. Whether creating a worshipper, a ruler, or a god, the artist gives himself over to these kinds of pieces, providing a service just as much as a product.

The Woman from Wilendorf is not the kind of woman that our culture would see as ideal. Coming from about 24,000 BCE, this was most likely a generic representation, focusing less on image and more on fertility, as you can see from the shape of the possibly pregnant stomach, the detail of genitalia, and the large breasts. She is about 11 centimeters tall and meant to be held on one’s hand, so she was not meant to be placed on display or observed by a group of people as artwork–the way we think of it–usually is today. She was painted with red ochre, possibly indicating the importance of menstruation and survival based on reproduction. The Woman was originally called a “Venus,” as she was created slightly after the Aurignacian Period. The Venuses were objects of sexuality, so she was stripped of that title, seeing as she is a representation or fertility rather than sex. Another thing to note here is her posture. she is straight up, shoulders back, head forward (for as much as we can tell). Her arms rest on top of her breasts and she in not covering herself. It is a very stoic image of a woman compared to the Venuses. However it is just as bold in comparison to prehistoric representations of the male gender.

The Lion-human coming from Hohlentstein-stadel, Germany, 30,000 -25,000 BCE, is possibly a representation of an actual lion with human-like posture, or a man with the decorations of an animal preparing for a hunt. Seeing it as a man could indicate exactly how fierce, capable, and powerful the male gender was seen to be. Like the Woman above, there is also a small focus and detail with genitalia. According to Robert Myron’s Prehistoric Art, this sculpture was created just in after the Aurignacian Period and the Magdalenian period; the former focused on the Venus, and the latter, on the animal, and the “human image is rare in Magdalenian art.” This piece of artwork was clearly representing dominance, either of the male sex of animals in general, or the human male, and his ability to conquer other animals. In contrast to the Woman of Wilendorf, the man has a tensed posture, while she was subtly confidant. The man looks prepared and on guard, arms away from his body and shoulder slightly forward as if ready to fight. He also has several notches on his arm which could indicate wounds from “battle.” Both the male and the female have stoic confidence, but in two very different ways; one is ready for childbirth (basically) and the other is ready for the hunt. But let’s be honest, they both require the same amount of strength and stamina.

Works Cited

Myron, Robert. Prehistoric Art. New York: Pitman Pub., 1964. Print.

Help Received: Prehistoric Art; Wikipedia–>dates