Now let us go back in time and uncover the origins of how the number 13 came to be associated with bad luck. Our journey starts in ancient Mesopotamia. King Hammurabi, sixth king of Babylon, wrote a set of laws, called Hammurabi’s Code, on a giant stone tablet, standing over 8 feet tall. However, after the tablet was recovered in 1991, the 13th law was missing. It was recorded on the tablet that the 13th law was missing because the number was considered evil and unlucky.
This paper is a close visual analysis of the Egyptian Kneeling Statue of Hatshepsut, which was dated around c. 1473-1458 BC, the 18th Dynasty in Deir el-Bahri. This three-dimensional artwork was made entirely of red granite and has a height of 8’ 6’’ (2.59 m). Considering that this solid sculpture was built many years ago, it still remains in good condition. From the first look, the tactile seems very rough, rigid and is hard to make out the eyes because some significant damage. Many pieces on the left side of her headdress, eyes and left arm have already crumbled off.
The collection mainly comprises ceramics and carved stone sculptures, especially the ceramic cups known as keros; these were ritually smashed and buried after ceremonial use. After our stop at the museum we'll begin our tour of the Ruins of Tiwanaku. Although it may have been inhabited as early as 1500BC as a farming village, Tiwanaku became an urban center starting aorund 300AD and grew in power over the next centuries, becoming a city-state, prestigious pilgrimage site, and the administrative center of the Kingdom of Tiwanaku, whose dominion expanded throughout Bolivia and into Chile and Peru. Around 1000AD the city fell due to drought, and any remaining scattered populations were conquered and assimilated for a brief period into the Inca Empire somewhere in the late 15th century or early 16th century. Despite years of abuse at the hands of tomb raiders and misguided excavations, the site still stuns with its giant stone monoliths (the largest block in the site weighs approximately 131 tons!)
The shuttlecocks were created in the shape of an obvious triangle. The artists did not use any values when painting these sculptures. Since these are three-dimensional sculptures, the need to create three-dimensionality using values doesn’t exist. Natural light does create excellent shadows within the individual sculptures. Each sculpture has incorporated an individual sense of movement.
Holloway is very passionate in his argument of where each piece comes from. As you read the article is it clear that Holloway has an issue with the spolias not receiving credit for their original purpose and stories. He frames the article into four sections. He first starts with the chronological timeline for each spolia and narrows down where they could have come from. He then discusses the sets of the spolias starting with the Trajanic Frieze, then the Hadrianic reliefs, and he concludes with the eight rectangular panels from the monument of Marcus Aurelius.
The massive gate is about 10 feet wide by 10 feet high at the threshold. It narrows as it rises, measuring 9 feet below the lintel. The gate itself is made of two great monoliths topped with an enormous lintel on which the lions are perched. The dimensions of the lintel are 15’×6.6’×2.6’. The great size of the block used to erect the walls inspired the term “Cyclopean Walls”, implying that the structure had been built by the mythical Greek characters known as Cyclops.
Oregon State Capitol Jessica Ridderbusch Arts/100 11/26/2012 Doris Doyon `Oregon State Capitol After a lot of thought and consideration of the different buildings and attractions here in the Willamette Valley, I have decided to discuss our very own State Capitol. On the night of April 25, 1935, the capitol was destroyed by a fire that speeds quickly from the bottom story up through dome-supporting column shafts. An investigation determined that the fire was accidental and that it originated in the storeroom-service area in the basement of the east entrance wing. Officials wasted no time preparing plans for the new building. The Designed by Francis Keally with the New York firm of Trowbridge & Livingston and dedicated on October 1,
Most of it was persecution against Christians or Jews, and they also had gladiator fights and such. Rome concentrates on engineering while Han China concentrates on detail and craftsmanship. Rome had monumental construction and built entertainment structures while Han had very little construction and built very few palaces. Rome had the coliseum for sole entertainment purposes. Rome was all about entertainment, including carnivals and circuses and more.
Both artifacts are tributes to the gods of their respective cultures, and they have certain commonalities yet they also have their own differences. The very first noticeable attribute of the Stela of Horus with magical inscriptions is that the entire space is occupied by either hieroglyphs or figures. There seems to be absolutely no blank space. Shaped in the form a tablet, the god Horus is seen standing on top of a creature such as that of an alligator while holding in each hand various other animals like a tiger, scorpions, snakes, and a stag. As this is a
The Human-headed winged bull and winged lion alone had many different designs and for such a big sculpture it had a lot of details in the wings, feet, face, and the beard of the creature. These designs followed along with more of the art that was created in the empire. In “The King and Eunuch Attendant” (Fig. 3), which was another carving made to protect the empire walls, there seems to follow a similar design and overall feel of the “Human-headed winged bull and winged lion” (Fig. 1).