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This vase which sits in the National Museum of Baghdad, Iraq, was from around 3200-3000 BCE and is made of alabaster. This piece was most likely originally painted and is carved in low relief. The height of this vase is 3.25'. The museum where this vase sits was invaded in 2003. The 4 registers carved on this vase, along with 2 blank registers, each show a different narrative/ representation. The bottom register has carvings of crops, the next has repeated animal carvings, and the top registers show offerings. These carvings are representing economic surplus and demand. Many of the things carved were brought to ziggurats. They also show votive offerings of livestock and food, which are dedications to gods and goddesses. One distinct aspect of this vase is that is portrays shorter figures than Egyptian Art.

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Snake Goddess from the Palace of Knossos c. 1600 BCE

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Snake Goddess from the Palace of Knossos c. 1600 BCE

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This snake goddess was found in a votive pit at Knossos in Crete, Greece dating back to C. 1600 BCE. Her limbs are long and skinny and are holding two snakes. She also has a cat sitting on her head. Her waist is cinched and her complexion is white. She is elaborately dressed with her breasts exposed and has a ritual guard. She is made of faience and stands at 11.5 inches tall. Personal adornment was important to represent at this time, such as hair, dress, and make up. There was no evidence of representations of deities and no large scale sculpture at this time. She was found with another figure similar to herself. Another aspect that demonstrates her is that she is Heraldic.

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Snake Goddess from the Palace of Knossos

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Amulet in the Form of a Lion-Headed Goddess ca. 1070-664 BC

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Amulet in the Form of a Lion-Headed Goddess ca. 1070-664 BC

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This amulet is Egyptian. She is an apotropaic image with the head of a lion and the body of a human. In her right hand, she holds a rattle-like scepter topped with a bird. Many parts of this figure represent the sun god, but many other parts are nearly indecipherable. The back of the lion head includes a loop which helps the amulet dangle from either a neck or merely held in a hand to represent something potentially having to do with the after life and spirits. However, this amulet was worn primarily as a protector.

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Amulet in the Form of a Lion-Headed Goddess

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This vase is from the Dipylon Cemetery in Athens, Greece. The vase contains one main registers which depicts the scene of prothesis. An amphora is represented and this vase was most likely used in a female burial. Action and interaction is depicted by mourning figures. This vase has a meander design with continuous line that takes repeated right angled turns. The hole in the top and bottom allow for libations and other types of offerings since Ancient Greek had no concept of the afterlife.

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This figure from ancient Greek art is a rare bronze original. He was from ca. 460 BCE and comes from the early classical period. He was most likely originally holding something in his right hand which could have represented Poseidon. He was recovered from a shipwreck off Cape Artemision in 1928. He is static in stance and also shows contrapasso style with all of his weight on his left leg. This figure is traditional classical art and shows idealized anatomy, a male subject, and heroic nudity.

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The Rack of Bells is from the tomb of Marquis Yi of Zeng who died c. 433 BCE. It was discovered in 1970's and was a part of the Zhou Dynasty. Within the same tomb there were about 15,000 objects including these bells. This tomb is unmatched by any other burial tomb in the dynasty. These were provided for the afterlife and aspired for his death. The bells are made of bronze and hang on wooden beams. This set of bells is a complete set and is the largest item found in the tomb. It is the also the most expensive item and best preserved in the tomb. These bells are used for rituals had a snakelike design. The total number of bells included 65 total. The design of these bells include a gold script and depict bronze soldiers on the edges used as support.

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This sculpture, AKA the seated boxer, was made by the artist, Apollonius and dates back to Ca. 100 BCE. He is a traditional Hellenistic figure by his unique form and relaxed position. He is showing a sense of emotion with his sad look, wounds, and blood which covers his body. He has no teeth and was most likely originally painted. He has a copper inlay and challenges the classical ideal of sculpture.

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Buddha Calling on the Earth to Witness Ca. 9th Century/ 900 CE

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Buddha Calling on the Earth to Witness Ca. 9th Century/ 900 CE

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This buddha is calling on the earth to witness. This buddha was made in Bihar, India and is now at the Cleveland Museum of art. The buddha reaches down his right hand, which is the bhumisparsha Mudra. The mudra is a common symbol in the Buddhist religion. This mudra is symbolizing asking the earth to witness prior to enlightenment. This buddha is trying to resist the forces of Mara. Mara is trying to prevent the Buddha from reaching enlightenment. The Buddha is sitting under the Bodhi Tree to achieve enlightenment. The importance of the Buddha reaching the enlightenment is one of the most iconic parts of the Buddhist religion.

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Mihrab, from the Madrasa Imami     Ca. 1354 CE

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Mihrab, from the Madrasa Imami     Ca. 1354 CE

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The most important aspect of the mosque is the Mihrab, which is niche that represents the direction of the Mecca. Each person that enters the mosque must face the Mecca to pray. One of the most intricate parts of the Mihrab is the mosaic decoration forms of patterns and inscriptions. This example is one of the earliest examples of Islamic Mosaic Tilework. On the exterior of the Mihrab, there are Qur'anic verses scripted. The script of the prophets are on the interior of the Mihrab. Mihrabs are also often the joining of calligrapher's art and abstract ornamentation. Another aspect of the Mihrabs shape is the pointed arch which is a common Islamic motif.