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Surname 1

Question 2

Terracotta krater Attributed to the Hirschfeld Workshop Period: Geometric Date: ca. 750–735 B.C. Culture: Greek, Attic Medium: Terracotta Dimensions: H. 42 5/8 in. (108.3 cm) diameter 28 1/2 in. (72.4 cm)

Stele of Naram-Sin

From Sippar; found at Susa (present-day Shush, Iran). Naram-Sin r. 2254-2218 BCE. Limestone,

Height 6’66’’ (1.98 m). Musee du Louvre, Paris.

Thesis: The Terracotta krater and the Victory Stele of Naram-Sin are both a representation of the specific cultural and historical events during that time. The Terracotta krater was a large vase that was often decorated with funerary representation. Consequently, the Victory Stele of Naram-Sin was a symbol of the gods of Akkadians and how their king, Naram-Sin, defeated the Lullubi people of present-day Iran.

Both images are a representation of some of the military exploits and practices of individuals during ancient times. The Terracotta krater has figures that of the deceased with shields and chariots and this is a representation of the military escapades of the community in question. Further, the painting and scene on the large vases evoked some glorious ancestry and traditions to which the dead man belonged thus upholding cultural practices through the paintings. Also, the Victory Stele of Naram-Sin monument is a representation of the military successes of Naram-Sin and his soldiers with the help of his steel. King Naram-Sin had great military authority as depicted in the monument.

Also, both of these pieces of art were made from stone with Terracotta krater being carved from stone while the Stele of Naram-Sin was made from limestone.

However, a notable difference between these two pieces of art is the fact that:

· The Terracotta krater was made during the archaic period while the Stele of Naram-Sin was made during the time of the Akkadian empire.

Question 3

The Palette of Narmer from Hierakonpolis. Early Dynastic period, c. 2950 BCE. Green schist, height 25" (64 cm). Egyptian Museum, Cairo. (JE 32169 = CG 14716) © Akg-images/Erich Lessing. [Fig. 03-02]

Kylix Epiktetos/Python c. 510 BCE

Thesis: The Palette of Narmer from Hierakonpolis and Kylix Epiktetos/Python c. 510 BCE was both a representation of the scenes of daily lives. The Palette of Narmer from Hierakonpolis is virtually a representation of the ancient Egyptian culture and the artifact was important of Egyptian civilization. The palette itself acted as a visual representation of an object in a monumental version of a daily used item that was used in the predynastic period. Some other aspects in the pallete such as the dark eyeliner and the dark streaks and black cosmetics as features that formed an important aspect of their daily life. On the other hand, the was the painting of a vessel that was commonly used in the ancient Greek culture. The painting is also a representation of the satyr clasps that appeared as a lover thus a portrayal of some of the acts during that time. The image was also a caution against overindulgence while a drinker was having wine, lest they became subhuman and they were tempted to get naked of unkempt.

Both of these pieces are a representation of some of the daily practices that occurred during the ancient times.

Also, both the Palette of Narmer From Hierakonpolis and Kylix Epiktetos/Python c. 510 BCE

Were ceremonial objects as they were both used for leisure and ceremonial purposes.

However, the Palette of Narmer was sacred and often used for religious purposes and in temples while the Kylix Epiktetos/Python c. 510 BCE was used for leisure and enjoyment purposes in wine ceremonies and was a representation of unreligious acts such as obscenity.