Art History Comparison
-
Describe and characterize the way human figures are represented in the Sumerian votive figures of Eshnunna. What are the potential relationships between style and function?
The Sumerian Votive figures have many artist conventions that are notable when first observing them. The human figure is represented in a naturalistic style. Therefore, the figures are clearly human, but do not look realistic. Starting from the top of these cylindrical figures, it is clear to see that they all have very large and unrealistic looking eyes. The expression carved on to these figures is blank and has minimal details. The figures also display a large brow that is carved as in indent on their faces that further emphasizes the large eyes. The figures are also shown to have a very relaxed pose that is typically used in prayer. The figures have a small torso which further emphasizes the rather large arms that are clasped together as if in prayer. The pose that they are can be described as bilaterally symmetrical because the figures are putting even weight on both legs and both sides of the body look the same. The figures also wear simple clothing to not take away from the simple nature if being in prayer.
Votive figures were clearly used for religious purposes due to the many stylistic choices that were made. The large eyes that are displayed on these figures come from a desire to please their gods during worship. In some Sumerian texts, it was encouraged that people go to their gods with a fixed gaze that will show them that one is attentive. The expressionless face can also demonstrate being so concentrated on the act of praying that one forgets the expression on one’s face. The relaxed pose that consists of hands clasped together and equal weight on both legs, also shows respect and peace. When approaching a god/ the god’s, one cannot be lacking concentration or catching attention to oneself, so a relaxed and simple stature shows that respect. All Votive figures look the same regarding the pose and the expression that they all have. This can also show a lack of individuality where the only thing differentiating them is the scale. The hierarchy of scale can differentiate from an important figure to one that is less important simply by looking at whether if one is larger than another. The reason why these figures need to demonstrate so much devotion to prayer is because that was the purpose of having them made. At this time, people became busier, rendering them unable to pray at all times of the day. Therefore, having a figure that is attentive and concentrated on praying and outwardly depicts that, is essential.
2. Explain the pictorial conventions for representing the human figure in ancient Egypt, using the Palette of Narmer (see “Closer Look” on page 53) as an example.
Ancient Egyptians used many conventions to represent a human figure in art. Although some of the figures are not meant to be humans but rather deity’s, they also take human form in art and symbolically. These conventions are noticeable due to the way the human body was positioned on a flat surface, in turn, making it unrealistic. To show all the important parts of the figure, the face was shown in profile view, the torso in frontal view, and the feet and sometimes the hands also shown in profile. In the palette of Narmer, Narmer is shown in this composite pose even while in action. The face is in profile, showing important features such as the nose, forehead, chin, and even the eyes. The eyes in a true profile view would be very small and almost not seen, but in ancient Egyptian art, the eyes are draw in frontal view regardless of what it looks like in reality. The torso is also always in frontal regardless of who the figure represents and what they are doing. Another important hall mark of Egyptian art is the striding legs. Sometimes used to show motion, the striding legs was also to show that the two-dimensional figure had more than one leg. In the palette of Narmer, the striding legs are shown but it does not appear that showing motion was their motive. Although all human figures followed these same guidelines, there were some differences when representing those in the higher social rank and those in the lower. With the higher social rank, they are shown as Idealized and they have minimal movement. With the lower social class, the figures are more a like to real humans and are smaller than their counterparts. The palette of Narmer shows these distinctions as well with Narmer being in the composite pose and being the largest figure there. The other figure that is lower than him is smaller and appears to have more human likeness. These conventions are followed for most of the Egyptian era with the goal to keep status quo.
For more information on the Palette of Narmer go to