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Sculpture has been known to have multiple purposes throughout the course of history and one of them is a ritualistic purpose(s). Typically one would think of religious purposes, which is completely correct, but not always. There is no way of telling for sure why certain figures and sculptures were created 40,000 years ago except through speculation. However, the makeup and forms and emphasis on specific parts are what identify them as ritualistic. This is due to what we know about them as a society and what they needed to survive, which in many cases is the continuation of the human race. Whereas more modern sculptures are representative of a specific person or idol that is important in a religious sense, which indoctrinates it into a sculpture with ritualistic purpose.

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Sculpture has been known to have multiple purposes throughout the course of history and one of them is a propagandistic purpose(s). Meaning that it is created and shown for a multitude of purposes including victories, military lineage, status, wealth, power, etc. There typically are no connections to religion or rituals in these objects, but instead serve as reminders of the people that they were made for. It is also a way to preserve the attributes of that person during the course of their lives or the time period where they existed.

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The Lion Man. Stadel Cave, Baden-Württemberg, Germany, 40,000 years old, ivory

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The Lion Man. Stadel Cave, Baden-Württemberg, Germany, 40,000 years old, ivory

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The very cracked surface of this figure suggests that it was very well handled and was passed around and rubbed for good luck or as some sort of ritual that connected to its appearance. It’s believed to be one of the oldest carved pieces ever found with an estimated age of about 40,000 years old. The place it was discovered tells us a lot of how these people lived, it was not a very good place to live, and so it was believed to potentially be a ritualistic place to share knowledge but not to live.

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Venus of Willendorf, c. 24,000-22,000 B.C.E., limestone 11.1 cm high (Naturhistorisches Museum, Vienna)

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Venus of Willendorf, c. 24,000-22,000 B.C.E., limestone 11.1 cm high (Naturhistorisches Museum, Vienna)

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This figure depicts what appears to be a woman with some sort of cap that covers the facial features, as well as enlarged and exaggerated body parts such as the breasts, stomach, and thighs. This object is very small and well handled, which is indicative of their constant on the move and impermanent and nomadic lifestyle the Paleolithic people had. The exaggerated figure of the woman signifies the hope and worship of good fertility and a good life, as to have the women continue the human race.

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This figure is perhaps the most recognisable object from the Paleolithic period. This is for a variety of reasons; which include the size, shape, and specific emphasis on body parts. Found in 1908 in Willendorf, Austria, it is one of about 40 similar objects found from this era. There’s no way to know for sure, but there are many indicators of it being a fertility totem, and was rubbed or carried for ritualistic purposes revolving around fertility and the characteristics of a healthy woman that could bear children.The statuette is made of oolitic limestone and tinted red ochre pigment has been found on it suggesting it was once painted. It is dated to be around c. 28,000-25,000 BCE, and stands at 11.1cm high, so that meant it was easily transportable for a society that had no roots, but lived a nomadic life. Diving into the characteristics of the figure itself, there is a braided cap that is on the head, covering any facial features, and there are several theories that suggest different reasons. It could possibly be for a ritualistic purpose that the paleolithic people performed for fertility purposes, and on the other hand it could be because it was a depiction of a goddess they worshiped and didn’t have a face for that reason. It’s also not surprising that there is emphasis put on the thighs, stomach, and breasts, which is a common theme in all different periods to describe a healthy female that is ready and able to produce children,therefore continuing in this case the human race, but in other instances for the same reason but to continue to keep a lineage alive and strong.

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Standing male worshiper ca. 2900–2600 B.C.,Gypsum alabaster, shell, black limestone, bitumen, Mesopotamia, Eshnunna (modern Tell Asmar)

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Standing male worshiper ca. 2900–2600 B.C.,Gypsum alabaster, shell, black limestone, bitumen, Mesopotamia, Eshnunna (modern Tell Asmar)

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In Mesopotamia, their polytheistic belief system led them to believe that the gods were physically present in materials and daily experiences. Therefore a possibility the reason this figural sculpture was made would be for prayer or an offering of some sort. The god would physically inhabit the statue if proper rituals were performed according to The Met. The clasped hands can symbolize respect or prayer and the facial features, specifically the beard was to be considered as an elder with wisdom and as a sign of status in the community.

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Marble seated harp player. 2800–2700 B.C., Late Early Cycladic I–Early Cycladic II,Marble.

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Marble seated harp player. 2800–2700 B.C., Late Early Cycladic I–Early Cycladic II,Marble.

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This figure is very uncommon in the Cycladic period for several reasons. The fact that this is a male figure is something that isn’t seen often and so there’s not much known about the male’s role in these communities due to the majority of the figures being female. The material is also a mystery of sorts as it’s not stone but made of marble. Since these figurines were more or less looted, there’s no archeological evidence to help solve the mystery of these handful of figures. 

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Thutmose, Model Bust of Queen Nefertiti, New Kingdom, 18th dynasty, c. 1340 BCE, limestone and plaster (Egyptian Museum and Papyrus Collection/Neues Museum, Berlin)

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Thutmose, Model Bust of Queen Nefertiti, New Kingdom, 18th dynasty, c. 1340 BCE, limestone and plaster (Egyptian Museum and Papyrus Collection/Neues Museum, Berlin)

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As sculpture and art transitions into different purposes, this example is thought to be used as a 3 dimensional sketch that the artist in the studio in Thutmose used to create more sculptures of Nefrititi. This is thought because of the materials it was made from and in the way that it wasn’t finished to the quality that would’ve been a standard for any sculpture of the Queen. This sculpture has been reproduced countless times and is such a well preserved image of Nefrititi who was an icon for feminine beauty.

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The Winged Victory of Samothrace, C. 190 BC, Provenance: Island of Samothrace (northern Aegean) 

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The Winged Victory of Samothrace, C. 190 BC, Provenance: Island of Samothrace (northern Aegean) 

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The Winged Victory of Samothrace stands at around 2.7m high and overlooked the Sanctuary of the Great Gods. It is to be believed that this monument was to commemorate a naval victory. The sculpture is very worn and it is hard to tell which goddess is adorned atop this ship, but it is likely it was Nike, goddess of victory. This sculpture is a Hellenistic masterpiece, as the composition creates movement that is shown and emphasized by the clothing blowing in between Nike’s legs and the nude body that can be seen through the transparent fabric.

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 Bronze statue of an aristocratic boy, 27 B.C.–A.D. 14,Roman, Bronze

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 Bronze statue of an aristocratic boy, 27 B.C.–A.D. 14,Roman, Bronze

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This life-sized statue of a boy was found on the Mediterranean island of Rhodes, which was known to be an island for those of wealth. This statue is a symbol of status or wealth, and is likely that he was the son of an important official or even royalty. This statue not only represents status and wealth, but it also shows the style of hair and clothing that was relevant and the stature of the boy seems as if he’s in thought as the Greeks were known as philosophers.

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Augustus of Primaporta, 1st century C.E., marble, 2.03 meters high (Vatican Museums)

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Augustus of Primaporta, 1st century C.E., marble, 2.03 meters high (Vatican Museums)

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This statue has great significance of Augustus as a great leader and orator, but also communicates the power and ideologies he had as well. The sculpture depicts Augustus as a military victor both outright and symbolically. Shown near his leg there is a cupid and a dolphin symbolizing a naval victory between Mark Antony and Cleopatra in the battle of Actium in 31 BCE. It also showed that he’s descended from the gods, which could stem from the Ancient Egyptians.

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This statue is another example of that with a propagandistic purpose. There’s an overall look at the sculpture and the more you look, the more you see. Starting off with the overall purpose, seemingly to be an image of Augustus being a leader and orator and general. It’s more than that, it’s also showing the amount of power he had and also depicted his ideologies. Taking a closer look near his feet, there’s an obvious connection between cupid, the dolphin and Augustus, which is a commemoration of his naval victory against Mark Antony and Cleopatra, and cupid is a sign of his connection to the gods. Looking at his feet you’ll also notice he’s barefoot, which is another depiction of divinity and how he saw himself as a god. Moving up to his ornately detailed chestplate or cuirass. Looking at the carved details, shows an additional number of propagandistic messages that have minute nuances that art historians argue what they actually mean, but for the generalized version, it’s showing the gods are on his side and that he’s a very high ranking international military victor, as well as that he is a peace bringer to all of the Roman Empire. The central zone of the cuirass shows a Roman and Parthinan which seem to be exchanging military standards, nodding to a specific military victory of his. Looking in the surrounding areas directly next to the center, there seems to be gods and personifications of Sol and Caelus, the sun and sky gods respectively. The sides of the breastplate depict female interpretations of the countries that were defeated by Augustus, and both of these depict his Pax Roma, bringing peace to the Roman Empire and that the sun and sky will shine brightly on the Empire. Below are Apollo and Diana, two gods he favored indicating he respected the roman traditional religion. Also shown is Tellus that interprets the Pax Romana even further to fertility. So despite this only looking like a portrait it’s a lot more than that.

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Reliquary Bust of Saint Yrieix, ca. 1220–40, with later grill, early medieval silver and gilded silver with rock crystal, gems, and glass.

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Reliquary Bust of Saint Yrieix, ca. 1220–40, with later grill, early medieval silver and gilded silver with rock crystal, gems, and glass.

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This bust in which the skull held a reliquary is covered with semi-precious

materials is covering a wooden core. It was not meant to be seen but had been carefully carved only to give shape to and to provide support for the precious metal sheathing. This reliquary would’ve been paraded around in the streets during holy feasts and placed on an altar for veneration, giving it a religious purpose rather than that of status. This face also depicted facial features and ideals at the time for that of religious figures and citizens.

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Virgin and Child, Before 1279, From the treasury of La Sainte-Chapelle, Gothic, Ivory.

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Virgin and Child, Before 1279, From the treasury of La Sainte-Chapelle, Gothic, Ivory.

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In the 13th and 14th centuries, Paris had with no question become the capital of ivory carvings. With the Marial cult happening in this time period also, it resulted in many of these carvings being produced. This statue also represented an ideal of beauty that was shown in the most beautifully done carving. Showing in its details of slightly slouching hips, a lissom, slender body, a fine, triangular face surrounded by wavy hair, eyes drawn out toward the temples, and a small, smiling mouth. All of which spoke to the ideal beauties of the Gothic period.