Ap Art History Compare Contrast Essay, dissertation assistance south africa, creative writing lesson plans for grade 2, i need someone to write my life story Power: comparisons and connections. by Dr. Asa Simon Mittman. From the earliest of history to the modern period, works of art and architecture have been designed to convey the power of rulers. While the following examples will often rely on a shared visual vocabulary to suggest power — including expensive materials, large size, and hieratic Nov 03, · ap biology lab 4 plant pigments and essay lab» cigarette advertising should be banned essay» dissertations in physical geography» Examples of ap art history essays The full history of these femme maison totem and an office space, and special over innovation assets, purpose entrepreneur communities
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over here. From the earliest of history to the modern period, works of art and architecture have been designed to convey the power of rulers. While the following examples will often rely on a shared visual vocabulary to suggest power — including expensive materials, large size, and hieratic scale — each ap art history comparison essay draws on its own culture for the most basic idea of what it means to be powerful, and each will express these ideas in its own fashion.
In one culture, violence might be the hallmark of power, whereas in another support from the masses might be more important.
Victory Stele of Naram-SinB. The earliest written records to survive come from the Ancient Near East — from a series of civilizations that flourished in what are now Iran and Iraq.
He founded a city and established dominance in the region through military success. In order to maintain this control, though, Naram-Sin had to frequently crush rebellions.
The Victory Stele of Naram-Sin commemorates his defeat of the Lullubi. The stele — an upright stone marker — makes a strong visual statement about the power of Naram-Sin, ap art history comparison essay. The composition is arranged in loose registers, angling up from the lower left to the upper right. The main figure is easy to spot, here: Naram-Sin is represented in hieratic scale, so that he towers over all the figures around him. He is the highest figure on this large stele which is over six and a half feet tall.
He is also surrounded by more negative space than the other figures, who in contrast are crowded together in a jumble. The space around the king is empty, so that he stands out clearly. This, though, merely draws our attention to him. His power is shown through his actions and the symbols on and around him. Just in front of him, a figure clutches a spear that Naram-Sin has thrust through his neck. The king carries other spears, a bow and arrows, and a battle-axe, as if a one-man army.
Unlike Qin Shi Huangdiwho demonstrated his military power through images of his thousands ap art history comparison essay soldiers, Naram-Sin had himself presented as the most powerful member of his army, displaying a god-like ability to slaughter his enemies. In addition to the dying figure bending backward before him, there are two more corpses splayed out in a heap beneath his left foot.
Another falls vertically down the stele, breaking through the registers. Additional figures raise their hands to plead for their lives even as they flee — note how the torso and face of the pleading figure in front of Naram-Sin is facing the conquering king, while his feet clearly point in the opposite direction.
The massive and aggressive figure of Naram-Sin is capped with a horned helmet, an attribute that prior to this image was only depicted on gods and that therefore suggests that he has been deified considered as a god. As he ascends the mountain, he moves closer to the three suns one now mostly lost at the apex of the image. These are symbols of the gods of the Akkadians, guiding Naram-Sin to victory and suggesting his own divinity. Representations of power in the ancient world, though, reached their peak with the art and architecture of the Egyptian kings, or pharaohs, particularly in the Great Pyramids of Giza.
Built by the pharaohs Menkaure, Khafre and Khufu, they remain the most monumental works of architecture in the world — no more massive buildings have ever been built. These are the only surviving works of the so-called Seven Wonders of the Ancient World, a group of marvels described in Ancient Greece to acknowledge what were considered to be the most remarkable works of art and architecture known at the time, and their survival is due to their massive style of construction.
Great Pyramids of Giza,: Khufu c. and Menkaure c. photo: Tim Kelleyap art history comparison essay, CC BY-ND 2. As the focal points within a necropolis they dominate the landscape. The Pyramid of Khufu is the oldest and largest. It was originally nearly feet tall at the apex, and the base is approximately feet long on each side, covering thirteen acres. Entrance to the Pyramid of Khufu, Giza photo: Ap art history comparison essayCC BY 2.
The size of the pyramids is not all that conveys the power of their patrons; the style also impacts this impression. They are not only large, and radially symmetrical, but ap art history comparison essay almost completely unadorned. Originally, the surfaces were covered with smooth blocks that would have given them perfectly straight sides, rather than the stepped sides they now have.
They would therefore have presented the viewer with a structure so unified that each might even seem to be a single object on the grandest possible scale. While Qin Shi Huangdi was also buried beneath a mound, his low hill was carefully concealed from view beneath grass ap art history comparison essay trees, ap art history comparison essay. In strong contrast, these works are ap art history comparison essay man-made mountains, rising over the flat planes of Giza, dominating the landscape and dwarfing all surrounding structures.
As such, they were very clear statements of the power of the god-kings buried within them. Great Sphinx, Giza, Egypt, c. photo: Alexander C, ap art history comparison essay. KafkaCC BY-ND 2. The pharaohs commissioned numerous images of themselves, many of which were created for spaces inside and around the pyramids. Perhaps most well-known of these is the Great Sphinx, guarding the entrance to the Pyramid of Khafre.
It sits at the entrance to the long causeway that leads to a funerary temple and then to the pyramid. This figure, 65 feet tall and almost feet in length, has the body of a lion but is capped by an image of the head of the pharaoh, wearing the royal cobra headdress.
The Sphinx sits upright and alert, in formal symmetry. The Sphinx has unusually large eyes, and this emphasis serves to suggest that this powerful creature is a most watchful guardian. Qin Shi Huangd i entrusted his protection in the afterlife to his vigilant soldiers. Khafre, on the other hand, seems to guard ap art history comparison essay. photo: Morgan SchmorganCC BY-NC 2.
Rattle Staff: Oba Akenzua I Standing on an Elephant Ukhurhe ,—50, Edo, Nigeria, bronze, copper and iron, These large, watchful eyes can be found in thousands of images of gods and rulers, giving the viewer the sense that these absent individuals are nonetheless scrutinizing us.
The portrait style common in the art of the Benin kingdom of the eighteenth century is highly abstract, with features of importance enlarged for emphasis. Here, we see a rattle staff, called an ukhurh e, made for a powerful obaor king. Oba Akenzua I ruled Benin in the early eighteenth century. This staff was probably used as a public political statement of power, unlike more traditional ukhurhewhich were carved in wood.
The staff, over five feet tall, has a hollow segment near the top, ap art history comparison essay narrow slits along its length, which rattles when shaken during prayers. This example is brass, which means it was a high-status item. As with Qin Shi Huangdithere is a balance in this work between worldly and spiritual power. The oba is shown dressed for a ceremony in elaborate royal garb, much of which would be made of valuable materials. As shown on the image on the ukhurhehis headdress, the rings around his neck, and the panels on his chest would be made of coral and his armbands would be of ivory.
This costly costume would declare to the viewer that the figure is no ordinary man. In a photograph of his descendant, Akenzua II who ruled fromwe can see an oba in a similar costume, giving a sense of how Akenzua I would have appeared in life.
His enlarged eyes declare his watchful nature. While the image of Akenzua itself is small — only about six inches in height — hieratic scale is used to demonstrate his importance: he stands on the back of an elephant, ap art history comparison essay, an animal associated with rulership, and is more than twice its height.
Detail, Rattle Staff: Oba Akenzua I Standing on an Elephant Ukhurhe ,—50, Edo, Nigeria, bronze, copper and iron, The oba was both the main subject of the art, and also its most important patron.
This is a work that tries very hard to capture some of the majesty of earlier images of rulers through composition, technique and symbolism. The recently crowned emperor is shown centered in a highly symmetrical composition, seated on a gilded throne that frames his head like a halo, suggesting his divinity. The semi-circle of the white ermine fur cape draped over his shoulders visually completes the semi-circle of the back of the throne.
The staff he holds in his right hand is topped with an image of Charlemagne, the revered medieval French king who was the first to be crowned emperor of the Holy Roman Empire. As Qin Shi Huangdi used ancient burial practices to connect himself to the tradition of his ancestors, Napoleon used these medieval treasures to connect himself with the past of France.
He also bears the golden laurel wreath crown of the Roman emperors, ap art history comparison essay, and the arms of his golden throne and the carpet at his feet both contain the image of the Roman eagle, ap art history comparison essay. Ingres paints all of these elements with extreme precision, so that we can see each gem and jewel, and with such attention to the texture of the materials that is seems almost as if we could feel them beneath our fingers, as we look at the image, ap art history comparison essay.
This lavish portrait was an attempt by Napoleon to demonstrate his great power, and also to argue that, although he had created a new empire, he was continuing the tradition of Charlemagne, and of the great Roman emperors of antiquity. Throne Hall, Gyeongbokgung Palace, main royal palace of Joseon dynasty, in Seoul, South Korea, photo: Terry FeuerbornCC BY-NC 2. In the portrait of Napoleon, we see a representation of a fairly lavish throne, but it pales in comparison to the actual Throne Room of Gyeongbokgung Palace in Seoul, South Korea.
This was the primary palace of the Joseon Dynasty, originally completed in CE, but burned down in during the Japanese invasion of Korea, and largely rebuilt in the mid-nineteenth century. Unlike roughly contemporary cities in China and Japan, Korean cities and palace compounds were not traditionally symmetrically organized. Instead, they followed natural features in an effort to achieve pungsu feng shui.
This makes the layout of the building and throne, itself, all the more striking. It is set at the top of a platform with three tiers, requiring that the visitor climb more than a dozen steps before entering the hall.
Throne Hall, Gyeongbokgung Palace, main royal palace of Joseon dynasty, in Seoul, South Korea, ap art history comparison essay, photo: BlmtduddlCC BY-SA 3. The building contains a single cavernous room, centered on the throne, which sits again atop a platform, elevating the king within this elevated palace.
Behind the throne are wooden screens, and then a painted backdrop with five mountains, the sun, and moon, all exclusive symbols of the king. A canopy hangs over the throne, with two dragons, also symbols of the king, on its inside, only visible to the king himself, while he is seated on his throne. The king, seated on a throne on a platform, in a palace on a platform, would appear superior to all those beneath him.
Still, it is clear that despite rhetoric about equality, the king was no ordinary citizen. Like Napoleon on his throne, Khafre in his pyramid and as the giant sphinx, Naram-Sin atop his mountain, and Qin Shi Huangdi in his tomb, the Joseon king relied on art and architecture to convey his great power and to elevate him, ap art history comparison essay, quite literally, above his people.
It is important to note that the use of art to convey the power of rulers is not an ancient phenomenon. It continues in the modern world, ap art history comparison essay, though often on a more modest scale than ap art history comparison essay Ancient Egypt and Ap art history comparison essay. soldiers cover the face of a statue of Saddam Hussein with an American flag before toppling the statue in downtown in Baghdad, Iraq.
For a more recent example, we turn to a statue of Ap art history comparison essay Hussein, former dictator of Iraq, which once stood ap art history comparison essay Firdos Square, Baghdad.
This statue was one of thousands of images of Hussein, and was produced as many of the images in this chapter wereat the orders of a powerful patron.
Writing an AP Art History essay
, time: 48:10Power: comparisons and connections – Smarthistory
Ppt Ap Art History Compare Contrast Essay, analysis essay age of renaissance, diversity essay public health, research papers essays AP ART HISTORY: LONG ESSAY. INTRODUCTION. Two-long essays that comprise about 25% of the points. For each, student must choose two specific works of art that are appropriate for the essay. One of the essays requires a student to choose an example of art from beyond the European tradition Compare and Contrast Essay. Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece
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