Museum Response Paper

Museum Response Paper

ART201_01

Submitted by

Date

1.Introduction

The artist is unknown

Art piece from Mesopotamia (1300)

Title of this piece is “ BOWL”

1300

It is made up of brass and silver

14’’

Philadelphia museum of arts

Historical artifact

2.Description/formal analysis with a compare and contrast

In the history of Islamic art, there is a common tradition based on Whenever a city or school in a particular artistic field reputation seems to have overshadowed the originality of other works puts up. For example, though the number of works with certainty, they can be made into Herat metalwork in the sixth century AH. A similar approach to school Mosul metalworking in the first half of the 14th century. Metalworking of this city in historical text. On the other hand, the validity and importance of this school is unquestionable.

He established a high civilization in Mesopotamia, the oldest center of civilization in history. If we examine mathematics in Mesopotamia, it is understood from the tablets that two different number notation forms (numbers) were used, before and after the cuneiform. First, we will refer to the cuneiform figures after mentioning the figures consisting of pictographic figures. During the excavations at Uruk, it was mentioned in our earlier subjects that there were marks similar to seal pressure and a tablet with cavities in which there were no doubt.

But it did not disappear in the literal sense of the word - the most important values of Mesopotamia were adopted by the Aramaeans, Persians and Greeks, which allows us to talk about the significant contribution of the art and culture of Mesopotamia to the world treasury. Many of the portrayals of historical circumstances, events, and personalities inherited from a distant past are still valuable sources of understanding of times long gone. In them, more or less pronounced, there are also some tendencies of historiography that can still be found today. Their contents range from the glorification of rulers and dominions to the critical examination of political and social conditions of the time described.

This metal bowl is a history artifact that shows the bowl made by brass and influx with silver. The metal work is very impressive. They use vessels for ablation and this piece is a evident of religious rituals.

i.Foal point: the focal point of this art piece is its work .Same pattern randomly followed throughout the bowl.

ii.Subject: the subject of this art piece seems their antique art /metal work

iii.The third section of the chapter describes the main political, religious and religious processes that determined the development of the Mesopotamian culture in Sh. Well shares were reflected in the images on the seals.

iv.Proportions: The selected piece is very well seen with complete proportion.

v.Line. line is also followed by the in their work

vi.Space: the concept of space is also followed.

vii.Color: it is in its original brass/ copper color.

viii.Texture: the texture is not smooth as it is uploaded by lots of pretty work 3-4 different kind of carving may: it portals the actual sense of tourism seems.

ix.Significance: it is old and parents need their children right away..

Another cult vessel depicts a festive procession with numerous gifts. Here you can see the traditions of ancient Eastern art. Figures of people with a clearly defined profile of the face, with an eye in the face, legs and torso. The picture has a storyline. Empty stripes divide the vessel into 3 registers: scenes are read from bottom to top. In the drawings of this product, a combination of the canonical image with the manifestation of the author’s free creativity is observed.

3.Thesis statement

In the process of the development of the Mesopotamian glyptic, the Akkad period appears as the next stage in evo searching for images from a conditionally symbolic to figurative generalization, continuing the Sumerian tradition and overcoming the contradiction between the content and the means of expression that was outlined towards the end of the RD. At the atom, both possible options were used: both simplifying the form, selecting visual techniques and abandoning the decorative effects, and filling the existing iconographic schemes and types with new content that corresponded to changes in social ideology and cult practice while maintaining the general basis of the forms of representation.

The Egyptians, Babylonians, Assyrians and other ancient civilized peoples especially praised the deeds of the rulers in inscriptions . An example of this is the building inscription KING SCHAMSCHI ADADS I (1808-1776 BC), which was deciphered on an alabaster panel from Assur

Mesopotamia, along with Egypt, Greece and Rome is considered one of the most significant centers of world civilization. The emergence of the culture of Mesopotamia dates back to the 4th millennium BC. when the cities began to arise. Throughout the entire period of the existence of the culture of Mesopotamia (IV century BC - I century AD), it was characterized by internal unity, the relationship of organic components and the continuity of traditions. The artist will cut the negative space, allowing the remaining material to form a positive image. Even though it is a tedious task, drawing art is more likely to last throughout the year because it is not as strong as a statue that stands alone, because one side is still attached to the whole structure.

Images on cult vessels are little preserved, but common features of glyptic are noted in them. The vessel found in Uruk could be used by the ancient inhabitants of Mesopotamia to perform sacrificial libations. He had 2 necks; next to one were figures of 2 lions. On the vessel itself is a drawing of lions hunting bulls. The relief of the images is striking.