Although Absent Since Ancient Rome This Art Form Was Used Again During the Romanesque Period
Carly Strickland
Organized 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 betwixt many great works of fine art and religion. From deities to gods and goddesses, religious narratives, and beliefs shaped the cultures of Mesopotamia, Egypt, and Greece.
Every bit each slice 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 will detect some joy in seeing these pieces from this interesting perspective. A articulate understanding of the freedom nosotros have in America to worship and follow whatsoever belief system we choose can be overwhelming when one thinks most the uniqueness of these freedoms. At that place is definite beauty in existence able to represent these belief systems through works of art. Consider the societies and cultures of the ancient past equally well as the present, and consider your liberty in this melting pot of cultures in which we live.
Hither are some questions to ponder while viewing these pieces: What kind of art would these cultures have created if religion and beliefs had not influenced the art so greatly? Would those cultures accept had any art at all? How tin you relate your own beliefs to these cultures? How does faith play a part in fine art today?
The curator of this exhibit recently watched a film about Dinah, the daughter of Jacob and sister of Joseph which sparked a connection between art and her own beliefs. The women in the rent tent were worshiping Inanna, the goddess of love and fertility. Although the fictional book and TV series may not have been entirely true to the Bible it still evoked a sense of what other gods the tribes and people of that time worshipped other than the God of the Bible. The commandment "Y'all shall have no other gods before me," came to life in that moment. Although at times in Evangelical teaching, the "other gods" can be associated with coin or some other thing in modernistic life that takes attention abroad from the relationship with God, it is interesting to learn that people actually worshipped idols, and clay figures. So hopefully each viewer of this exhibit tin can discover 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 world.
Warka Vase, Uruk, (modern 24-hour interval Warka, Iraq) c. 3300 – 3000 BCE
The Warka Vase is made from alabaster, a form of marble, and stands approximately 36 inches high. The piece was constitute in the Temple Complex 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 name is often accompanied by the symbol of a reed stalk tied in a hook at the elevation side by side to it. Inanna was believed to be the goddess of dear and state of war and was after believed to be the goddess of fertility. While Inanna was the goddess of love, she was not the goddess of marriage. She was associated with sexual behavior. In each story that is told about her she is never an innocent bystander. She is e'er sly, manipulative, "violent and lusting afterward ability". One of many examples of Inanna's manipulation can be found in the Epic of Gilgamesh. Gilgamesh was 2-thirds god and one-third human, and Ishtar, Inanna's Akkadian counter-part, fell in beloved with him the first 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 non return the same affection towards her to which she took great offense. Ishtar had her father, Anu, make a divine bull to kill Gilgamesh and his friend Enkidu. Enkidu defeated the bull so the gods punished him past taking his life. Ishtar'due south scheme did not go as planned, only someone'due south life was all the same 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 festival. The registers evidence 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 heart annals shows nude men carrying vessels walking to the left in the reverse direction of the animals. The peak annals seems to depict the performance of a sacrifice or offering and shows a bearded bull which often represents deity. The direction switching from left to right gives a sense of motility up to the temple starting from the lesser annals of the vase and proceeding to the top register. The male person and female figures on the vase, which are no longer in tact, are believed to be depicting Inanna and Dumuzi, or her priestess and the priest-rex. "The fusion of the world of the gods and that of the humans was so complete at the end of the 4th millennium, when the vase was produced, that depictions of figures lack indicators of divinity".[ii] Union between deities and humans was believed an essential step in the process of growth and fertility in Sumer. Cultural wisdom was that the pleasure of deities brought prosperity to the lands.
The interaction between deity and priest-rex in the Warka Vase is why the piece was chosen for this digital exhibition. Inanna "…brings cognition and culture to the city of Uruk" .[three] She was said to exist the source of abundant harvests, power, and protection of the kings.
[i] Joshua J. Mark, "Inanna", Aboriginal History Encyclopedia, 2010, http://world wide web.aboriginal.european union/Inanna/.
[2] The Metropolitan Museum of Art, Art of the Showtime Cities, (New York: The Metropolitan Museum of Fine art, 2003), 24.
[3] Joshua J. Mark, "Inanna", Ancient History Encyclopedia, 2010, http://www.ancient.eu/Inanna/.
Babylonian Stele of Hammurabi, Made in Babylon, Erected at Sippar, Institute in Susa, c. 1792-1750 BCE
The Stele of Hammurabi is an art piece and lawmaking of laws that was constitute in ancient Susa, and commissioned by Hammurabi, the 6th rex of Babylon. The stele is made of diorite and is 7.4 feet tall, which emphasizes its significance. The main purpose of the piece was to serve as political propaganda, reminding those in the towns of Hammurabi'southward 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 sunday god. The principle scene depicted shows King Hammurabi receiving his investiture from Shamash.
Hammurabi was the rex of Babylon in Mesopotamia from 1792 to 1750 B.C.East. Babylon's history was made famous because of Hammurabi's greatness and military prominence. "Hammurabi combined his armed services and political advances and irrigation projects and the construction of fortifications and temples jubilant Babylon's patron deity Marduk".[i] Hammurabi implemented i of the earliest forms of legal codes in ancient Babylon. "His code, a collection of 282 laws and standards, stipulated rules for commercial interactions and prepare fines and punishments to meet the requirements of justice".[ii] "An eye for an eye, a tooth for a molar" is an example of one of the harsh punishments that Hammurabi enforced. Hammurabi'due south Code was written in cuneiform script, the primeval system of writing, which was developed by the Sumerians. It is divided into three parts, a prologue, epilogue, and ii literary passages describing the 282 laws. The prologue describes King 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'south terms and then everyone could sympathize 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 exist knocked out".
Shamash, the sunday god, who is seen in the top half of the stele, was as well the god of police and justice, which explains why he is holding a staff and ring. He was an Akkadian god who "exercised the ability of light over darkness and evil".[iii] When comparing the Stele of Hammurabi to the Shamash Stele yous tin come across that there is no segmentation between Hammurabi, the king, and Shamash, the deity. It gives a sense of unification between the 2. The Victory Stele of Naram-Sin shows Naram-Sin portraying himself equally a god, then in comparing the ii, 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 between the rex and patron deity. The rex is the middleman who communicates with the deity, presenting the god with worship and gifts. In this instance the relationship is also used as political propaganda to ensure that the people of Babylon submit to the Hammurabi code – a legal organization implemented "to forestall the strong from oppressing the weak and to see that justice is done to widows and orphans".[iv]
[i] History.com Staff, "Hammurabi", 2009, A+Due east Networks, http://www.history.com/topics/ancient-history/hammurabi.
[ii] History.com Staff, "Hammurabi", 2009, A+Due east Networks, http://www.history.com/topics/ancient-history/hammurabi.
[iii] Encyclopædia Britannica Online, southward. v. "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 found in Thebes on the e bank of the Nile River. The ancient Egyptians knew the temple of Karnak equally Ipet-isu—or "well-nigh select of places"—.[i] It is considered the largest temple circuitous on Earth. Information technology pays tribute to the deities Amun (Amun-Ra), Khnosu, and Mut. It is made upwards of courts ascribed to over thirty unlike kings, 3 main temple precincts, Hypostyle Hall, the sacred lake, and Scarab statues.
The largest temple in the complex is the Temple of Amun (Amun-Re), the Male monarch of the gods. The other ii temples are the temples of his married woman Mut, and son Khnosu. Amun was one of the most important gods in ancient Egypt, and once united with Ra, the lord's day god, he was the most powerful. "Amun-Ra was considered to exist the father and protector of the pharaoh".[ii] 6 enormous figures sit down 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 xviiith Dynasty ofttimes associated herself with Amun, and one form of propaganda even said that she was the daughter of Amun.
The Great Hypostyle Hall built by Sety I, the 19th century pharaoh, is the virtually chiliad of the buildings at Karnak, fifty-fifty in the presence of the temples of gods and goddesses. The Hall is a 54,000 square feet forest of 134 columns. The columns are 45' wide and approximately seventy' alpine. "Not but does the scale and completeness of this monument remain a rarity amid ancient Egyptian temples, but is also the largest and most elaborately decorated of all such buildings in Egypt".[three] At that place is keen detail in the relief carvings throughout the hypostyle. "The patchwork of creative styles and different royal 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'due south include; Sety I offering two flowers, Ramesses II offering incense, Ramesses Iv offer lettuce to Amun-Ra, Sety I attacking the Syrian boondocks of Kadesh, and Horus with the headdress of Amun and the King.
The Sacred Lake is 393 feet by 252 anxiety and was dug by Tuthmosis III. The lake represents the remembrance of the void of chaos, memorial witness, and the commencement indicate of creation. It is a place of purification and is where the priest would breast-stroke himself before sacred rituals. The goose is a symbol of Amun and the sacred geese of Amun besides lived in the lake.
The Scarab of Amenhotep III, dung beetle and granite statue, was an emblem of the cycle and nature of creation. The dung beetle was an insect associated with the sun god Khepri. "The plinth is decorated with a lightly inscribed sunk relief scene of a kneeling Amenhotep III offer to Khepri who is seated on a low throne. A winged solar disk extends over their heads".[five] The Scarab is fastened to the sacred lake, near as if they are standing guard, standing between chaos and the rest of the world.
The Temple Complex at Karnak, filled with sacred buildings and rich culture, holds nifty significance to Egyptian history. "It is the largest religious building always made, roofing about 200 acres, and was a place of pilgrimage for nearly ii,000 years".[vi] This virtual exhibit would not have been consummate without the Temple Complex at Karnak taking an appropriate identify considering the corporeality of religious ceremonies and practices that took place at that place.
[i] Owen Jarus, "Karnak: Temple Complex of Aboriginal Egypt", 2012, http://www.livescience.com/25184-karnak-temple.html
[ii] J. Colina, "Gods of aboriginal Egypt: Amun", 2010, http://www.ancientegyptonline.co.uk/amun.html
[iii]Academy of Memphis College of Arts & Sciences, "Welcome to the Hypostyle Hall", http://world wide web.memphis.edu/hypostyle/staff_biographies.htm
[4] University of Memphis College of Arts & Sciences, "Welcome to the Hypostyle Hall", http://world wide web.memphis.edu/hypostyle/staff_biographies.htm
[5] C. Zarnoch, East. Sullivan, "Scarab of Amenhotep Three", http://dlib.etc.ucla.edu/projects/Karnak/resource/ObjectCatalog/1854
[six] 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 every bit the Elgin Marbles, named later the 7th Earl of Elgin, Thomas Bruce who sold the marbles to United kingdom when Greece was under the rule of the Ottoman Empire. The Elgin Marbles still to this day reside in the British Museum, which has led to a rather heated contend. "Britain used to say that Athens had no adequate place to put the Elgin Marbles, the more than half of the Parthenon frieze, metopes and pediments that Lord Elgin spirited off when was ambassador to the ottoman empire two centuries ago".[i] Now that the Acropolis Museum is a fully functioning museum with state of the art technology to assist preserve and restore art, Uk's statement is invalid. The argue notwithstanding continues and further questions to whom ownership belongs and whether repatriation is the correct thing to do or non. Fine art does help define a civilization and its ways but do other people deserve see the fine art too? Would people appreciate art every bit much if at that place weren't places like encyclopedic museums where they can encounter these pieces kickoff manus?
This detail marble metope from the Parthenon depicts a scene of "A fight between a human Lapith and a Centuar".[ii] Lapith's were Greek mythological people who lived on Mount Pelion and were known for their rivalry with the Centaurs. Centaurs were creatures that were part human and part horse and descended from Centaurus, the son of the music god, Apollo. The story the scene was taken from was of Centaurs first encounter with vino. The Lapith's were throwing a marriage feast for their King, Peirithoos, and gave the Centaurs wine. The Centaurs got unruly and their leader, Eurytion, tried to accept advantage of the helpmate. This caused uproar and "a full general battle ensued, with the Lapiths finally victorious".[iii]
This scene is portraying the victory of the Lapith's over the Centaurs. The nude Lapith male is in the forefront of the sculpture showing dominance. 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 even though the Lapith is faceless, his body shows his victory. "The composition is perfectly balanced, with the protagonists pulling in contrary directions, around a primal space filled by the cascading folds of the Lapith'south cloak".[4]
The connectedness this piece has with this exhibit is that Centaurs are descendants of Appollo's son, Centaurus, and that Lapith's are humans derived from greek mythology. In this particular piece in that location is not a god or goddess existence worshiped or offered sacrifices, merely the piece gives a sense of how Greek culture was shaped around Greek mythology and the gods. Countless stories were told and art was made to visualize those stories. "The ancient Greek spiritual beliefs, religion, and oral tradition are all reflected and formulated through rich myths and legends that besides entertainment provided an joint of the moral fiber of the Greek culture as it evolved through at least two thousand years".[five]
[i] Michael Kimmelman, "Elgin Marble Argument in a New Light", 2009, New York Times, http://www.nytimes.com/2009/06/24/arts/blueprint/24abroad.html?pagewanted=all&_r=0
[ii] B.F. Cook, The Elgin Marbles, 2nd edition (London, The British Museum Press, 1997)
[three] B.F. Melt, The Elgin Marbles, 2nd edition (London, The British Museum Printing, 1997)
[4] B.F. Cook, The Elgin Marbles, twond edition (London, The British Museum Press, 1997)
[five] Ancient-Greece.org Staff, "Greek Mythology", http://ancient-greece.org/culture/mythology.html
Laocoon and His Sons Hagesandros, Polydoros, and Athenodoros of Rhodes, Hellenistic Greece, 1st century BCE,
This sculpture of Laocoon and His Sons is one of the most famous sculptures from the Hellenistic time menstruum, around 200 BCE. The sculpture was discovered in nine pieces, i seemingly life-sized, by a farmer in his vineyard on Esquiline Colina, was excavated in 1506, and placed in the Vatican where still housed today. The discovery of Laocoon sparked the imaginations of artists from Raphael to Michelangelo, becoming the standard for aesthetic beauty in art for the next several centuries. One can certainly encounter the influence of this piece on the physical attributes of some of the works of Michelangelo such equally many figures on the Sistine Chapel Ceiling with similar muscular construction, and on the emotional attributes of pieces like his Slaves sculptures. Politicians sought afterwards the sculpture too, and Napoleon even captured the slice for his Louvre for a time. Eventually Laocoon was returned to the Vatican. Standing around eight anxiety tall, Lacoon and His Sons is sculpted from marble. The sculpture illustrates the scene of Laocoon and his two sons beingness attacked by sea serpents.
Laocoon was a Trojan priest and was said to exist the priest of Poseidon. Some say he was likewise the priest of the god Apollo. The Trojan State of war could accept been prevented if the Trojans had listened to Laocoon the twenty-four hour period the Greeks brought the Trojan horse into the city. Laocoon tried to warn them against bringing the horse into the urban center because 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 programme. She punished him by sending two sea serpents, Porces and Chariboea, to attack his ii sons and him. Another narrative says that, "Laocoon offended Apollo by breaking his oath of celibacy and begetting children or by having sexual intercourse with his married woman in Apollo'southward sanctuary".[i] Apollo sent ii serpents to kill Laocoon and his sons while he was sacrificing a balderdash at Poseidon's altar. Whichever tale is true, both stories prove that the gods and goddesses interacted with humans regularly but were not always trustworthy and did not e'er fight on the side of the humans.
The musculature in this sculpture shows the idealized trunk type of Grecian males during this fourth dimension period of ancient Greece. The males were warriors and were expected to be the most fit. This piece shows a very intense narrative moment and emphasizes this by exaggerated tension in the bodies. 1 son seems to be breaking free of the grip of the sea serpents when he looks beyond to encounter his father and brother in the desperation of their deaths.
This piece was chosen for this showroom because of the human relationship between Laocoon and the gods and goddesses, which also in one case once again illustrates how gods and goddesses were office of everyday life in Greek culture, and for its influence on generations of artists centuries afterwards the original sculpture was made.
[i] The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed Apr 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Statuette of Isis and Horus, Ptolemic Catamenia, ca. 304-30 BCE
Isis was arguably the well-nigh important goddess of ancient Egyptian history every bit she was worshipped not only in Egypt, but also throughout Italy and Greece, and her influence lasted long afterward 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 diverse amounts of sodium, potassium, calcium, magnesium, and copper oxide".[i] This detail statue of Isis and Horus was approximately 7 inches high. This piece was one of many statues of Isis nursing Horus. The other figures were by and large fabricated of bronze, like a bulk of other statues and figures of deities during this time menses.
Isis nursing her son Horus was seen equally a sort of symbol of rebirth for the ancient Egyptians. During this time catamenia deities were oftentimes placed in temples and "the most important was the triad (a group of three persons) of Osiris, his married woman, Isis, and their son Horus. They represented the king of the expressionless, the divine mother, and the living king respectively, together they were the perfect family".[two] Osiris was the god of the globe 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. "Equally a kid, Horus was known as Harpokrates, "the infant Horus". And was portrayed as baby being suckled past Isis".[iii] His nascence was meaning because he was conceived after the expiry of his father, 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 not clothed and on the right side of his caput is a single lock of hair. The object on peak of Isis's head is a throne hieroglyph that represents her name.[iv]
This slice has been replicated and recreated in many different forms throughout history, which confirms its importance and significance in Egypt also every bit other cultures. "During after periods, Egyptians produced many minor bronze statuettes of their deities, which they and then gave as 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 civilization more and more during the later periods, and Isis influenced religious worship for centuries after her death and even after the stop of the Egyptian empire.
[i] Joshua J. Mark, "Faience", Ancient History Encyclopedia, 2010, http://www.ancient.eu/Faience/
[2] British Museum of Art Staff, "Statuary figure of Isis and Horus", http://world wide web.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 figure of Isis and Horus", http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/b/bronze_figure_of_isis__horus.aspx
[five] The Louve Staff, "Statuette: Isis Nursing Horus", http://world wide web.louvre.fr/en/oeuvre-notices/statuette-isis-nursing-horus
The Amphipolis Mosaic, fourth 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 slice 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 feet long and is constructed of white, black, blue, red, yellow, and grey pebbles. The tomb in which the mosaic was establish is believed to take been nether the rule of Alexander the Not bad at the fourth dimension the piece was constructed, and could have been the site where his mother, Olympias, was cached. Although there is conflicting prove suggesting other possibilities for who is buried in the tomb, Alexander wanted to make his female parent a goddess, and she held tremendous political power even later his decease, then a tomb of this kind would have been a fitting burial identify for such a prominent figure.
The scene depicted "is identified as Hades in the process of carrying Persephone, with a lamenting female person figure (Demeter) left behind".[i] Pluto, whose earlier name was Hades, was in love with Persephone and abducted her to brand her his queen. Persephone, also known as Kore, the goddess of the harvest, was the but kid of Zeus and Demeter, the goddess of nature. Pluto, or Hades, was the god of the underworld, hell. Hades brutal in love Persephone one day when he traveled above ground and saw her picking flowers in a field. One story says that Zeus, the blood brother of Hades and Persephone's father, was his accomplice and that they trapped her past causing the ground underneath her to split in one-half. "Persephone slipped beneath the World and Hades stole her to the Underworld where he made her his wife".[ii]
The figure leading the chariot is believed to be Hermes, the god of transitions and boundaries. This would brand sense considering this scene is a delineation of the subjects traveling from Earth back to the underworld. As the son of Zeus, the depiction of Hermes leading the chariot too becomes more than plausible. Hades is driving the chariot and some say the female figure is Demeter beingness left behind. Nonetheless, a better assumption might be that the female figure is actually Persephone herself, judging past the agony on her face up and somber wave. Regardless of who the figure is, the raw emotion on the confront of the female figure allows a deeper level of connexion with the piece of fine art.The detail and different approach to this piece is what makes it and so unique and i of the reasons why information technology was chosen for this exhibition. Artists during this time period were making bronze figures and marble sculptures, not mosaic pieces from marble. Although it is only a two-dimensional work of art, the detail and scale requite dandy emphasize to the scene of Hades abducting Persephone and bring it to life. "The artist 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".[three] The piece over again reflects the theme of the exhibit as it beautifully shows the connection between fine art and religion in ancient times.
[i] Ancient-Greece Staff, "Amphipolis Mosaic", http://aboriginal-greece.org/art/amphipolis-mosaic.html
[ii] "The Myth of Hades and Persephone", http://www.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
[iii] Ancient-Hellenic republic Staff, "Amphipolis Mosaic", http://ancient-greece.org/fine art/amphipolis-mosaic.html
By Carly Strickland
Piece of work Cited
Joshua J. Marker, "Inanna", Aboriginal History Encyclopedia, 2010, http://world wide web.ancient.eu/Inanna/.
The Metropolitan Museum of Art, Art of the First Cities, (New York: The Metropolitan Museum of Fine art, 2003), 24.
History.com Staff, "Hammurabi", 2009, A+E Networks, http://www.history.com/topics/ancient-history/hammurabi.
Encyclopædia Britannica Online, s. v. "Shamash", accessed April 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Owen Jarus, "Karnak: Temple Circuitous of Ancient Arab republic of egypt", 2012, http://www.livescience.com/25184-karnak-temple.html
Loma, "Gods of ancient Arab republic of egypt: Amun", 2010, http://www.ancientegyptonline.co.uk/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 III", http://dlib.etc.ucla.edu/projects/Karnak/resources/ObjectCatalog/1854
Marking Millmore, "Karnak Temple Sacred Lake", Discovering Egypt Website, 1997, http://discoveringegypt.com/karnak-temple/
Michael Kimmelman, "Elgin Marble Argument in a New Calorie-free", 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, 2nd edition (London, The British Museum Press, 1997)
Ancient-Greece.org Staff, "Greek Mythology", http://ancient-greece.org/civilisation/mythology.html
The Editors of Encyclopaedia Britannica, "Laocoon, Greek Mythology", accessed April 21, 2015, http://www.britannica.com/EBchecked/topic/538274/Shamash.
Joshua J. Mark, "Faience", Aboriginal History Encyclopedia, 2010, http://www.aboriginal.european union/Faience/
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
Egyptian Myths Staff, "Horus", http://www.egyptianmyths.internet/horus.htm
The Louve Staff, "Statuette: Isis Nursing Horus", http://www.louvre.fr/en/oeuvre-notices/statuette-isis-nursing-horus
Aboriginal-Hellenic republic Staff, "Amphipolis Mosaic", http://aboriginal-hellenic republic.org/fine art/amphipolis-mosaic.html
"The Myth of Hades and Persephone", http://world wide web.greekmyths-greekmythology.com/myth-of-hades-and-persephone/
oliverossaisent1980.blogspot.com
Source: https://ancientart.as.ua.edu/ancient-arts-relationship-with-religion/
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