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Kneeling Bull Holding a Spouted Vessel (3100 - 2900 BCE)

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Kneeling Bull Holding a Spouted Vessel (3100 - 2900 BCE)

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This is a fascinating object, as the use of it is unknown. The bull is made from silver and is fairly small in size, about 6 7/16 x 2 ½ x 4 ¼ inches. What’s very unique about it is its anthropomorphic features. The top portion of the bull is a very detailed looking bull with extremely realistic features. But then it fades into human shaped shoulders and torso that is covered with a blanket of some sort. The blanket hides the bottom half of the object, but it does look like it's draped around a protruding stomach. This could be a pregnant woman, but we might never know. Looking closer at the object, you can see the great care the artist put into making this object. The blanket has a design on it and is very carefully draped around the bottom half to show that the bull or human is kneeling. The spouted vessel shows that it could be used to hold liquids of some type. The bull was found with traces of cloth on it which suggests that it may have been buried as a part of a ritual or ceremony.

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The statuettes of two worshipers are made of gypsum, shell and black limestone. The man statuette is 2’ 4 ¼” and the women statuette is 1’ 11 ¼”. These statues were made as a votive offering because at the time people weren’t allowed to worship inside temples. To pray to the gods, people would make statues like these and put them inside the temples. Once the statues are placed in the temple, they are considered sacred and cannot leave the temple.  These statues would often represent specific people and have name markings and specific prayers on the bottom of them. The wide eyes were seen as a sign of constant state of prayer and were made with inlaid shells or stone. These statues are from the Square Temple of Eshnunna in Iraq and were actually found buried underground. The temple that they were originally in was under attack and to prevent looting of holy items; the statues were buried underground. The statues are now at the National Museum of Iraq, Baghdad.

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Marine Style Octopus Flask (1500 - 1450 BCE)

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Marine Style Octopus Flask (1500 - 1450 BCE)

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This flask was found at Palaikastro, Crete, in Greece. It's from the Minoan culture, which developed in the areas of the Mediterranean Sea during the Bronze Age. The vase is made of ceramic and is 11 inches tall. This vase was hand painted by an artist and is extremely realistic looking. This makes sense because the Minoans were a coastal group so it was very likely that they had seen an octopus before. The vase was wheel made and made in two separate pieces. The handle was made first and then the base was added later. It was likely made to hold a valuable liquid. This vase is often compared to a vase made by the Myceneaens. The different styles between the two vases reflects the culture of both. The Minoans have a very naturalistic sense of energy and movement which is demonstrated in the octopus. The Mycenaens on the other hand, were very militaristic and that shows on the vase as the octopus is very rigid and not very naturalistic.

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This is an archaic Greek funerary statue that was made in 550-540 BCE. It marks the grave of what historians assume is a young girl. The statue was buried shortly after it was made due to political reasons, but this was left very intact and well preserved. It is made of marble and was created by the artist Aristion of Paros, who is known for other inscriptions but this is one of his more famous pieces. The inscription on the base of the statue Phrasiklea portray her as a perpetual maiden, which means that she died at a younger age and was unmarried. She also wears a lotus crown that the Greeks borrowed from the Egyptians and refers to her young age. Her dress is decorated with meanders, rosettes, and swastikas which shows the great detail that Paros put into this sculpture. The sculpture was also painted as a scientific analysis done showed that at least 11 different pigments were found on the statue.

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The three goddesses or muses from the pediment of the Parthenon (438-432 BCE)

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The three goddesses or muses from the pediment of the Parthenon (438-432 BCE)

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These statues were made as decorations to go in the pediment of the Parthenon. Because the head and arms are gone, it's hard to tell who the figures represent but historians think that they represent Hestia, Dione, and Aphrodite. They are found in Athens Greece and were made in 438 - 432 BCE. The tallest figure is 4’ 5”. They were carved first as a separate piece then put in the pediment. The carving of the figures is really unique because it looks like the clothes that they are wearing looks wet. This is unusual because typical statues were made in an idealized form that showed youthfulness, strength and always had clothes that hid the body. Not having clothes was a sign of lower class or slavery so noble people wore clothes to differentiate themselves from them. So seeing the goddesses in clothes that are form fitting and almost look nude is a major transition in artistic style.

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The three goddesses or muses from the pediment of the Parthenon 

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Lady Dai's Funerary Banner (206 - 220 BCE)

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Lady Dai's Funerary Banner (206 - 220 BCE)

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This banner was made in the honor of Lady Dai, a powerful woman in the Chin dynasty. Her tomb was discovered in 1972 and had three categories of objects; spirit objects made specifically for burials, objects that she would have used in her daily life, and a wide assortment of food. The banner is one of the oldest preserved silk paintings and was found draped over the innermost of four coffins. On the banner itself are four registers that represent the three realms; the underworld, the sacrificial funeral rights in the mourning hall, Lady Dai and her attendants and the heavenly realm. This represented the belief at time that every person had two souls; one that would make the journey to the afterlife and one that would stay in the tomb and enjoy all the offering left behind. This is why Ancient Chinese tombs are often filled with items such as food, everyday items, and fine jewelry. Lady Dai’s burial was part of a set of three burials; one for her husband, one for herself, and one for their son.

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This is a portrait of a family from Egypt in 200 CE. It is carved on wood, has a diameter of 14 and is currently on display in Antikensammlung, Berlin. This is one of the only portraits artists have of this time period. The portrait shows the family of Septimus Severus, Julia Domna, Caracalla and potentially Geta. The smudged out face is because of Damnatio Memoraic, which means the official damming of you memory. The story goes that the emperor Septimus Severes was going to pass down his throne to one of his two sons, Carcalla or Geta. Carcalla murdered his brother Geta because he wanted the throne. After he murdered Geta, he then used the practice of damnatio memoraic to erase his brother from all portraits and inscriptions. Not having your name on any records or in portraits was a big deal because those were the only way to preserve yourself in history. By erasing Geta, Carcalla successfully claimed his spot as emperor and Geta was then erased from all art as shown in this portrait.

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This beautiful mosaic is located in the Sant Vitale in Ravenna Italy. It was completed in 547 CE and is a portrait of Theodora, the wife to Justinian. This is an unusual place to represent women because historically they were not in the apse of churches. But this mosaic shows that women can be recognized at a level equal to men as her husband also has a mosaic in the apse. The mosaic depicts Theodora participating in the procession of bringing the bread and wine to the altar. The way all the figures are faced and styled in the portrait show a constant sense of movement towards the altar. She is surrounded by her attendants but because she is wearing the royal purple color, you can tell that she is the important figure in this portrait. Purple was the color worn by roman emperors so by her wearing the purple robes it shows her importance and power that she holds. She was well deserved of the importance, as she had a brilliant military mind and was behind most of the campaigns that happened during her time.

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Chi-Rho-Iota page from the Book of Kells (750 - 800 CE)

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Chi-Rho-Iota page from the Book of Kells (750 - 800 CE)

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The Chi-Rho-Iota is a stunning page from the Book of Kells. The book depicts the first four books of the new testament (St. Matthew, St. Mark, St. Luke and St. John) and was made in 800 CE. The book was named after the monastery that once housed and made the book. Great care was taken to make each page in the book and it took a team of people to create. It shows the great metalwork of the Anglo-Saxons and is written in ink that is then leafed with gold to create the illuminant look. The Chi-Rho-Iota page begins to explain the birth of Christ as the latin work generatio refers to birth. The first three letters of Christ (C, H, and I) are shown on the page in great detail and exuberance. Throughout the page you can see St. Matthew was represented in symbolic ways. It has travelled far to escape from Viking crusades but resides in a church. It now sits on an altar and each day, a new page is open.

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Central Portal of the Cathedral of St-Lazare of Autun (1120-35 CE)

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Central Portal of the Cathedral of St-Lazare of Autun (1120-35 CE)

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This is a tympanum that contains a sculpture showing the last judgment and it sits on the entrance to the Cathedral of St-Lazare. This was made in 1120-35 CE and is carved from stone. It is a Romanesque church portal and serves as a reminder to all who enter the church what’s at stake. On the carving we can see Christ as the central figure in the hierarchical scale and is surrounded by angels. On the right of Jesus (the viewers left) we see a scene of those who are being saved. There are angels lifting people up to heaven and you get a sense of sereness and peace from the figures. On the left side of Jesus (the viewers right) are the souls of the damned. You can see demons lifting people up by their neck into the furnace and can see the chaos and panic in the figures on that side. Beneath them, stand all those waiting to be judged. If you look at the people who are lined up under the side of the damned you can see how panicked they are, and some of them have hands grasping their necks. On the side of the saved, the people look a lot calmer and happier.

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Central Portal of the Cathedral of St-LAzare of Autun (1120-35)