Aegean Art

I’ve chosen to compare the “Mask of Agamemnon” from the Mycenaean period and the “Head of Senusret III” from the Middle Kingdom of the Ancient Egypt. Heinrich Schliemann discovered the “Mask of Agamemnon” in a shaft grave in Mycenae in 1876. The solid gold mask was placed over the face of a body thought to be the legendary Agamemnon. Agamemnon is popularly known as the commander that united the Greek to fight in the Trojan War. His wife, Clytemnestra, had taken a lover by the name of Aegisthus whom later killed Agamemnon when he returned from war. Some other versions of the story are that Clytemnestra herself killed Agamemnon. The mask found on the body was dubbed the Funerary mask of Agamemnon reach the height of 12 inches. The “Head of Senusret III” in our art book rests in the Nelson-Atkins Museum of Art in Kansas City, Missouri. There have been multiple copies and statues of the Heads of Senusret III. Khakhaure Senusret III was a pharaoh of Egypt ruling from 1878 BC to 1839 BC. He was the fifth monarch of the Twelfth Dynasty. Senusret was a “dynamic king and successful general who led four military expeditions into Nubia,” He helped regain control over the country’s increasingly independent nobles’.

            There are a significant amount of things that are similar and different between the two pieces of art. The first and obvious similarity is that fact that they are both faces of an important war authority. Both men led great armies through war and combat. Being so old and so worn, Senusret has missing attributes to his face such as nose, ears, and lips and Agamemnon is beat up and worn down. The head of Senusret III was not used as a funeral mask but a piece to show, or a portrait of their leader. The Mask of Agamemnon was used a funeral piece for the body that was discovered by Schliemann.

            The Mask of Agamemnon was made entirely out of gold with the height of 12 inches. It was normally mixed with other metals to make the entire piece stronger. The Head of Senusret III that is currently located in Kansas City, Missouri is made out of yellow quartzite with a height of approximately 18 inches by 14 inches by 17 inches. The pieces, or portraits, of Senusret III are mostly made as busts or full three-dimensional objects whereas the Mask of Agamemnon is a flat two-dimensional piece of metal. Both show distinct facial features that depict strong and noble men of their era and place. Even with the wear and tear of the Mask of Agamemnon and the broken and missing pieces of the Head of Senusret III we still get a great sense of importance and dignity theses two men shown in their lifetime.

            The Head of Senusret III is a really distinguishable piece of Egyptian art. From the headpiece to the recognizable facial features and style we can tell this person is of Egyptian decent AND most likely a person of great importance. The Mask of Agamemnon is a little harder to distinguish its origin to the Aegean period.

I believe that the embellished facial features of the eyebrows and mustache really give of the sense of that time period. We even see the detailed hair on the bottom of the mask. I feel that this piece is really a treasure all on its own.

Egyptian Art (Convention)

The term convention, in art, (artistic convention) is defined as established ways of representing forms. The Egyptians used the artistic conventions to specifically represent humans and their actions and expressions. These were to be followed out for three thousand years to ensure minor changes to the people. The people represented in the artistic conventions were proportioned to have multiple viewpoints. The heads’ profiles were shown so that the nose, forehead, and chin are clearly seen. Also, the Hips, legs, and feet were drawn by profile. To show that the figure was walking, the figure would have the other leg exposed. The only difference in from all of the profile representations is that the torso of the figure is fully frontal. They used this to depict royalty and other dignitaries. When they would represent people of lesser social statuses, they would have them engaged in active tasks so it seems more lifelike to our standards.

Narmer Palette

         I believe that creativity in art can come from anything. Being in love with all types of art forms, you can really find creativity and inspiration from anything. Being creative shows people what you see through your imagination and/or original ideas. By using different kinds of means through painting, drawing, sculpting, photography, film, and expression, creativity has a whole door to come through and be seen by everyone.

         I can see controversies through which Egyptian artistic conventions can be considered either art or not. Since these representations are of real people it seems that they are more like pictures of actions and perhaps portraits. I can see the sense that any abstract markings on the people are clothes and accessories they wore but who is there to say that those were not art? I find that they’re way of life and their depictions of clothes and head gear were an art form in itself. The Egyptian artists and their way of representing their people is a classic way of art and creativity. Whenever we see the “Egyptian pose” we think of the classic arms out and legs in front with the profile. The Egyptian artists’ creative art of humans has had a lasting effect thousands and thousands of years later AND throughout the world.

         I believe that the Egyptians felt their creativity was important to them. Who wouldn’t want their art to be important? Especially when they wanted these depictions to last thousands of years into the future. They’re use of tools and other means of creating art was special and specific to these people and their appreciation of these are widely known to any who have seen these marvelous creations.

         I do not believe that ancient art needs to be a manifestation of creativity in order to be valued today. When the people of ancient times started to create these pieces of art, they might not have believe what they were making were “art.” They would usually makes these to show and depict lifelike or real people of their times. As the pieces become older and worn and our world starts to develop a sense of what art is and how it comes to be made, we start to also appreciate the “artists” and their stunning success of making lasting pieces of creativity.

Ancient Near East (Votive Figures)

The Votive Figures date back from 2900-2600 B.C.E. These figures were made of limestone; they were excavated from the Square Temple in Eshnunna (which is present day Tell Asmar, Iraq). These Sumerian sculptors were experts in the materials used to create such art. They would combine precious metals with other material to achieve authentic Sumerian art pieces. The sculptors from these times wanted to follow Sumerian art to a T. The figures have stylized their faces and bodies, dressed in clothing that show off its shape. By sculpting these figures in the way a worshipper stands, hands folded and arms across the chest, these figures are ready to approach their god in the way they were made to do. The Votive Figures are of men and women that are related to the Near Eastern devotional practice where the worshippers would sculpt images of themselves in a shrine and place them in front of an even larger image of the god they were worshipping. The figures hold many people, each with diverse qualities. The Votive Figures demonstrate the “One Who Offers Prayers;” each figure has different heights, clothes, faces, and shape.

By taking a close look at these figures we see the incredible attention to detail on their faces. The men all have a similar beard and hairstyle while the woman and treated the same with similar hair. Each face on the figures are so meticulous that we as a viewer know that so much time and effort went into each figure. I am intrigued to know what kind of tools and instruments were being used to achieve such a thorough look on their faces. Even the facial expressions have such happiness and thought-provoking ideas for us to question. I sense a lot of skill is needed to accomplish this sort of great exhaustive work.

Each figure is placed on a pedestal, and my first initial thought is that the figures were sculpture from a block of stone. There is a piece on the largest figure where there are markings on the base.  I am not sure what it means and/or what it is exactly. I get the sense of great ability and aptitude from the artist, or artists, to sculpt such detailed work. Each figure has a significant different size than the others and the impression I receive is that the artist does not allow size to hinder his or her work.  The precision and skill to create the smaller statues is incredible and I feel much effort and passion has gone into it. To create these statues that symbolize faith and devotion to a higher power, the artist must show the same amount of devotion to these figures.

            I find the subtle hand folding of the figures to be made quite beautifully. By ones’ self, a figure would look like a simple man or woman but combining twelve of these figures we get the sense of worship and praise.  There is one figure that stands out the most to me and it is the figure that is kneeling on the ground with no stone base. This figure is different from the rest by the base and head gear. I feel that this figure is one of a kind and perhaps the start of a whole new set of votive figures that the artist did not get around to.