1. Assignment #2, Individual Project
HUM140: Art Appreciation
Instructor: Tammy Starzyk
Colorado Technical University
Presented by: TSgt Loren K. R. Schwappach
Created: 14 October 2008

2. Image 1: Mythological figures (bull lyre from tomb of King Meskalamdug) 2600-
2500 BCE:
Image retrieved on 14 Oct 2008 from z.about website at:
http://z.about.com/d/arthistory/1/0/N/B/06_UrExp.jpg
Description of the Art: This illustration taken from the sound box of the bull lyre
from the tomb of King Meskalamdug, Ur (c. 2500-2400 BCE.) is displayed at the
University of Pennsylvania Museum of Archeology and Anthropology,
Philadelphia. The illustration appears to show (from bottom to top) a scorpion-
man being served by a deer-man, a bear and donkey playing harp, a lion and wolf
carrying offerings, and a bearded human male holding what seem to be two
bearded she-bulls. (Stokstad, 2007, pg. 43.)
Purpose and placement of the Art: Some of the illustrations shown are thought
to allude to the story of Gilgamesh written nearly 700 years after the harps
creation, a story that probed the question of immortality and longing to find
meaning in human existence. (Stokstad, 2007, pg. 43.) This artwork does in fact
seem to illustrate some great epic and was probably read from the top down.
Image 1
Mesopotamia and Ancient Egypt 2

3. Image 2: Mythological figures (bull lyre from tomb of King Meskalamdug) 2600-
2500 BCE:
Image retrieved on 14 Oct 2008 from liebreich.com website at:
http://www.liebreich.com/LDC/HTML/Opinion/Iraq/IraqHeritage.html
Culture of the Artists: The Sumerians of Sumer (located in southern
Mesopotamia, c. 2680 BCE) that created this masterpiece are credited with many
“firsts” from the wagon, wheel, and plow. Casting objects in copper and bronze
the replacing the bronze age with their stone age approximately one thousand
years before northern Europe. They are also credited with inventing the first
known system of writing in 3300 BCE. The Sumerians were a religious society that
dutifully believed in the afterlife and were thought to be lead by priest-kings.
(Stokstad, 2007, pgs 38-39)
Intended audience of Art: The audience of this artwork may have been a tribute
to the Sumerian God’s and/or King Meskalamdug and the lyre was most likely
Image 2
used in Sumerian religious events or for the Kings journey into the afterlife.
Mesopotamia and Ancient Egypt 3

4. Image 3: Cylinder seal, 1820-1730 BCE:
Image retrieved on 14 Oct 2008 from MetMusium.org website at:
http://www.metmuseum.org/works_of_art/collection_database/all/
cylinder_seal_and_modern_impression_royal_worshiper/objectvie
w.aspx?page=1&sort=0&sortdir=asc&keyword=Cylinder%20seal&fp
=1&dd1=0&dd2=0&vw=1&collID=0&OID=30006148&vT=1
Description of the Art: The scene seems to depict a deity of some
religion (sitting on a throne placed upon the backs of two sheep-
men) in a meeting or discussion with a human subject (to the left).
There are several religious artifacts on the scene, to include an
Egyptian like cross (lower left), what appears to be angels or bird
men to the right, and a griffon or sphinx on a cloud. Yet, the most
amazing thing about the art is how it was created.
Image 3
Purpose and placement of the Art: The scene was created from a
cylinder (see next slide) that was rolled upon a medium (mud, clay,
etc.) as an official seal of some sort. As the Sumerians that created
the art were also credited with the creation of the first written
language the seal probably acted as an identification mark for
official Sumerian documents. (Stokstad, 2007) Ancient Egypt
Mesopotamia and 4

5. Image 4: Cylinder seal, 1820-1730 BCE:
Image retrieved on 14 Oct 2008 from MetMusium.org website at:
http://www.metmuseum.org/works_of_art/collection_database/all/cylin
der_seal_and_modern_impression_royal_worshiper/objectview.aspx?pa
ge=1&sort=0&sortdir=asc&keyword=Cylinder%20seal&fp=1&dd1=0&dd
2=0&vw=1&collID=0&OID=30006148&vT=1
Culture of the Artists: As stated on an earlier slide (slide 3) the
Sumerians were an advanced society credited with many firsts. They
were extremely religious and seemed to incorporate god-like animal-
men, servants in much of their artwork. The sphinx and ankh (Egyptian
cross) seem to hint towards a relationship towards Egyptian cultural
beliefs. (Stokstad, 2007)
Intended audience of the Art: The art was probably used by subjects to
Image 4
identify authenticated documents of the priests or king, and may even
have been used in trade agreements.
Mesopotamia and Ancient Egypt 5

6. Image 5: Lamassu (Human-headed winged lion), 883-889 BCE:
Image retrieved on 14 Oct 2008 from MetMusium.org website at:
http://www.metmuseum.org/toah/ho/04/wam/ho_32.143.2.htm
Description of the Art: The Lamassu or human-headed winged lion
depicted had five feet so that it appeared standing when looked at
from the front and striding forward when viewed from the side.
Their caps speak of importance or divinity. The creatures were
fastened from limestone and placed near important doorways as
guardians. (Stokstad, 2007)
Purpose and placement of the Art: These colossal (13-16 ft)
Lamassus were carved into the stone gates of palaces and citadels.
The likely served as a warning to enemies and as a sign of power and
prestige of the ruling king. The Egyptians would later borrow from
this idea as seen in the huge Egyptian sphinxes that guarded
Egyptian pyramids. (Stokstad, 2007, pg 46)
Image 5
Mesopotamia and Ancient Egypt 6

7. Image 6: Lamassu (Human-headed winged lion), 883-889 BCE:
Image retrieved on 14 Oct 2008 from MetMusium.org website
at:
http://www.metmuseum.org/works_of_art/collection_datab
ase/all/human_headed_winged_bull_and_winged_lion_lama
ssu/objectview.aspx?page=1&sort=0&sortdir=asc&keyword=l
amassu&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=3000905
2&vT=1
Culture of the Artists: Around 1400 BCE the Assyrians rose to
dominance in northern Mesopotamia. Strongly influenced by
the Sumerians the adopted the use of ziggurats and preserved
Sumerian text. Their influence spread all the way into Egypt.
(Stokstad, 2007, pg 45)
Intended audience of the Art: The art was intended to cause
fear and reverence among the Assyrians and their conquered
citizens. Its ferocity speaks of Assyrian strength and power.
Image 6
Mesopotamia and Ancient Egypt 7

8. Image 7: The Pharaoh Menkaure and his wife, Queen
Khamerernebty, 4th Dynasty, from Giza. c. 2515 BCE:
Image retrieved on 14 Oct 2008 from accd.edu website at:
http://www.accd.edu/sac/vat/arthistory/arts1303/Egypt1.htm
Description of the Art: An ancient Egyptian portrait of Khafra’s son,
King Menkaure and his wife Queen Khamerernebty standing side by
side with eyes looking into eternity. The King is standing strong and
resolute displaying his authority with one foot forward in Egyptian
pose. The queen shows her respect and love for the king in a delicate
open handed embrace. The king is wearing a short kilt, a short
beard (symbolic of kingship) and linen headdress (a tribute to the
Egyptian sun god Ra.). (Stokstad, 2007, pg 51)
Purpose and placement of the Art: Discovered in a funerary
temple built during Menkaure’s rule, the statue symbolizes the
nobility and kingship of Menkaure. Egyptian kings of this era often
created such tributes as a show of their power and strength as well
as to remind their populace of their rule long after their journey into
the afterlife. I would also surmise the king had a strong love and
Image 7
reverence for his wife in including her in the masterpiece.
Mesopotamia and Ancient Egypt 8

9. Image 8: The Pharaoh Menkaure and his wife, Queen
Khamerernebty, 4th Dynasty, from Giza. c. 2515 bce:
Image retrieved on 14 Oct 2008 from ancient-egypt.co.uk
website at:
http://www.ancient-
egypt.co.uk/boston/menkaura/pages/boston_03_2006%20051.ht
m
Culture of the Artists: King Menkaure ruled Egypt from c. 2532-
2503 BCE. At the same time the prosperous society of Samaria
rose in Mesopotamia, a rich culture began to rise in the fertile
valley of the Nile in Egypt. Egyptians like the Sumerians were
extremely religious and had a strong belief in the afterlife.
Egyptian pyramids were built as gateways to the afterlife and
mummification was used to preserve the king for all eternity.
(Stokstad, 2007, pg 48)
Image 8
Intended audience of the Art: The artwork was created to act as
a tribute for the kings rule. It was probably meant for the king
and his journey into the afterlife.
Mesopotamia and Ancient Egypt 9

10. Image 9: Funeral mask of King Tutankhamen (King Tut), 1334-1325
BCE:
Image retrieved on 14 Oct 2008 from touregypt.net website at:
http://www.touregypt.net/featurestories/masks.htm
Description of the Art: Made of solid gold, The funeral mask of
King Tutankhamen is a masterpiece of perfection. From the detail
of the imortal eyes, using red to create energy and life, to the
perfect proportions the Egyptian creators knew how to turn a King
into a God. The mask contains simplified forms, emphasizing clarity
and color. The fake beard represented kingship the headdress
represented Godliness and power. The intricate garment
represented wealth and prosperity. (Stokstad, 2007, pg 37)
Purpose and placement of the Art: This mask was created as a
tribute to the late King and would serve him for eternity in the
afterlife. To Egyptians the mask symbolized their kings immortality
(although he died at the age of 17-18 years.)
Image 9
Mesopotamia and Ancient Egypt 10

11. Image 10: Funeral mask of King Tutankhamen (King Tut), 1334-
1325 BCE:
Image retrieved on 14 Oct 2008 from touregypt.net website at:
http://www.touregypt.net/featurestories/beards.htm
Culture of the Artists: Tutankhamen probably ruled from 1334
and 1325 BCE. Ancient Egyptians observed regeneration of life
through the yearly floods of the Nile river, so it is easy to see why
they could easily believe in an afterlife. The Egyptian kings
believed if their name was remembered their soul would live on.
This funeral mask was a tribute to this idea. (Stokstad, 2007)
Intended audience of the Art: The mask served two fold. To the
populace it served as a reminder of the kings power and
godliness. To the dead king it served as a reminder of his lineage
and reign and would voyage with him concealed in his chamber
to the afterlife.
Image 10
Mesopotamia and Ancient Egypt 11

12. Image 11: The great Egyptian pyramids, c. 2630-1814 BCE:
Image retrieved on 14 Oct 2008 from wikipedia website at:
http://en.wikipedia.org/wiki/Giza_pyramid_complex
Description of the Art: Covering an area of 13 acres, at 756ft. The
great Egyptian pyramid, one of the many at Giza is probably the
greatest tribute to early Egyptian intellect and artistic perfection.
Pyramid blocks were taken using stone and copper tools. Granite
was gathered using pounding stones. The blocks were transported
to the pyramid site using barges and wooden sleds. (Stokstad,
2007)
Purpose and placement of the Art: The sole purpose of these
massive structures (which could take a Kings entire lifetime to be
built) was to serve as a gateway for the king to enter the afterlife.
Image 11
Mesopotamia and Ancient Egypt 12

13. Image 12: The great Egyptian pyramids, c. 2630-1814 BCE:
Image retrieved on 14 Oct 2008 from touregypt.net website at:
http://www.touregypt.net/featurestories/pyramidoverview.htm
Culture of the Artists: Egyptian kings were extremely devout
and strongly believed in their divinity. Their competition to
stamp their names and rule into eternity lead to many amazing
feats as seen in the pyramids. As seen in Sumerian art they
shared many Mesopotamian beliefs and ideas and incorporated
many such works into their society. The Sphinx and the Lamassu
are just one of the many ties.
Intended audience of the Art: The pyramids were intended as a
sign of immense power and eternal life of the Egyptian kings,
and were designed for their journey into the afterlife.
Image 12
Mesopotamia and Ancient Egypt 13

14. Mesopotamia and Ancient Egypt 14