Comparison of Two Sculptures
The ancient Egyptia
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The ancient Egyptians and the Greeks of the Hellenic era shared several important characteristics. Among them were a complex system of gods, each requiring his or her own ritual worship, and a love of the monumental in terms of architecture and selected art forms. As Laurie S. Adams (p. 73) has commented, both groups followed certain canons and conventions in sculpture, leading to creations that were life-sized or larger, monumental and powerful, and firmly rooted within the guiding sociocultural ethos in which they were produced. This report will compare two works of art. The first is an Egyptian statute of Ranofer, a limestone sculpture of a standing male produced in about 2750-2625, B.C. (Gardner, p. 54). The second sculpture to be discussed is known as Kouros, a life-sized figure of a male youth completed around 540, B.C. Ranofer is a formal standing figure facing directly forward with left foot advanced and arms held closely to the side. The pose is remarkably similar to that used some 2100 years later by the Greek sculptor who produced the Kouros. Ranofer represents sculptural portraiture characterized by a quality that Gardner (p. 52) calls ôaliveness,ö or sufficient personality and controlled motion potential to represent a real model and not merely an idealized physical being. At the same time, this sculpture is permeated with a feeling ôof imperturbable calm that conveys the impression not of an individual but of something greater" (Gardner, p. 53).
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les wrote, ôalthough there are many marvels in this world, the greatest marvel of all is man" (Cole and Gealt, p. 11).
It is likely that a Greek athlete served as the model for the Kouros. Often, such figures were placed on pedestals outside of temples or set up as memorials on gravesites where they represented gods, Homeric heroes, or warriors. As Cole and Gealt (p. 111) maintain ômodeled after Egyptian sculptures, the Kouroi followed established conventions. One foot placed before the other, arms at the sides, facing forward, the Kouroi were based on received knowledge rather than visual analysis.ö At the same time, however, there is a much greater sense of freedom and liveliness in the Greek statute than in its Egyptian predecessor. Much more clearly defined musculature has been introduced into the figure of the nude Greek youth. Though his legs are as muscular and solid as those of the Ranofer, the articulation of the calf muscles and those of the arms is infinitely superior. This represents not only a new understanding of human anatomy, but also a significant advance of technical mastery and sculptural craft.
Janson (p. 112) identifies the Kouros as placed on a pedestal marked with an inscription identifying him
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Some common words found in the essay are:
Cole Gealt, Kouros Ranofer, Ranofer Janson, Ranofer Greek, Laurie Adams, BC Ranofer, Greeks Hellenic, BC Gardner, janson 112, Gealt Adelheid, greek carver, male youth, cole gealt, Janson HW, found egyptian, greek art, art york, gardner 52, gardner 53, egyptian sculpture,
Approximate Word count = 1441
Approximate Pages = 6 (250 words per page)
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