Art
ArtArt in general is a representation of its
culture. By examining works of art, one can often
distinguish the culture from which it came. To do this well,
one must be cognizant of the styles, purposes, and
techniques that were used to make the work of art. By taking
a critical eye to two pertinent examples of art, one can
determine how each work of art illustrates its respective
culture.
An appropriate work of art that reflects its culture
is the Outer Coffin of Henettawy. Hennetawy was a mistress
of the house and chantress of Amen-Ra. She lived in the
Third Intermediate Period of Egypt. Her coffin is a simple
one, made out of wood and white gresso, and is inundated in
religious symbolism and imagery. These images reflect a
style and "iconography"(Coffin) that developed during the
late New Kingdom in Egypt. Henettawy wears a plain
three-part wig, with two sidelocks and elaborate funerary
jewelry of her era. Hennetawy's tomb is symmetric and
relatively balanced out. There is use of foreshortening in
her feet and face. One can tell that this work of art is
Egyptian. Her arms are crossed, and her eyes enlarged in
accordance with all Egyptian coffins. One might overlook
that the whole coffin is engulfed in hiractic writing,
soundly designating it as "Egyptian". Some lines of hiratic
writing read, "Beginning of the instructions"(Coffin), which
is the traditional opening formula for "didactic
writings"(Coffin), reflecting its relationship in appearing
Egyptian.
The purpose of the coffin is no secret. The
Egyptians believed in the "Ka". The objective of the coffin
was to provide a body for the deceased. Many beliefs are
represented in her coffin. As stated above, Egyptians
believed in the afterlife. Many gods on the coffin can be
seen, and so one can assume that Egyptians were
polytheistic. One should realize that the fact that
Hennetawy was a woman is notable. The Egyptians must have
had some respect towards women, in order to make one a
coffin. One is filled with awe after looking at this piece
of art. It is amazing to see a huge, golden, tomb staring
into space with big black eyes, watching over everything.
The second pertinent piece of art was not considered
"art" at all. The Krater with Lid: The Judgement of Paris
was in essence a wine jug. Its purpose was strictly
utilitarian. There is a key "belief" that the krater
exhibits, and is religious in nature. One can tell that that
the Greeks were polytheistic, in that Paris is running from
three Greek gods (Hera, Athena, and Aphrodite). The krater
was made in ca. 460 B.C., and so belongs to the Archaic Age.
One can deduce the krater is from the Archaic Age due to
certain identifiable characteristics. Firstly, the figures
represented in the krater are two-dimensional. Secondly, the
heads of the figures are shown in profile containing a full
frontal eye. Thirdly, attic pottery can be identified by its
red-figure color. The figures appear in natural clay color,
(usually red) while the background is a glazed black. After
looking at this krater, one would think that it was made
strictly for decoration. It is very intriguing to discover
that these kraters served a purpose on a daily basis.
In summation, by examining appropriate works of art,
one can determine its origin. By taking an in-depth look at
the styles, portrayed beliefs, and uses of these works of
art, one can appreciate the full scope of these masterpieces
from ancient civilizations.