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Characteristics of art of sculpture of the paleolithic period. Works Cited
Bedworth, Candy, and Candy Bedworth. “Portable Prehistoric Gods and Goddesses.” DailyArt Magazine, 12 Sept. 2024, www.dailyartmagazine.com/mobiliary-prehistoric-gods.
The Venus of Dolní Vestonice, the Oldest Known Ceramic Figurine: History of Information. -
Woolly Mammoth, c. 33 000-35 000 BCE, Vogelherd Cave, Swabian Jura, Urgeschichtliches Museum Blaubeuren, Blauberen, Germany This ivory mammoth carving is one of the oldest in the world, measuring a mere 37mm across! Carvings of animals are a common sight in paleolithic art and demonstrate not only the technical skill of our ancestors, but their reverence for the natural world. -
Venus of Dolní Věstonice, c. 29,000-25,000 BCE, Moravian Basin, Moravské zemské museum, Brno, Czech Republic The Venus of Dolní Věstonice was uncovered in the Moravian basin of Central Europe. It stands as an exemplary instance of a Venus figure both in form but also the purpose these figures might have served. That being to act as charms to promote fertility or even simply to worship the female form. -
Art of Egypt's Pre-Dynastic period
-Dr. Amy Calvert, "Palette of King Narmer," in Smarthistory, August 8, 2015, accessed February 19, 2026, https://smarthistory.org/palette-of-king-narmer/ -
Characteristics of art in the neolithic period.
Works Cited
Department of Ancient Near Eastern Art. “Animals in Ancient Near Eastern Art.” The Metropolitan Museum of Art, 1 Feb. 2014, www.metmuseum.org/essays/animals-in-ancient-near-eastern-art.
Hongshan culture, pendant in form of a mask, c. 3500–3000 B.C.E. (late Neolithic period), jade (nephrite), 5.7 x 17.2 x .4 cm (Freer Gallery of Art, Smithsonian Institution, Washington, DC) -
Neolithic period, Majiayao culture, Jar (Guan), c. 3300–2050 BCE, Ceramic, The Metropolitan Museum of Art, New York City, USA. The importance of pottery in early human civilization cannot be overstated. The existence of pottery is the result of the need to store excess food with in an agricultural society. It marks an important lifestyle shift going into the Neolithic age. -
Late Uruk, Mesopotamian Culture, Head of a Ram, c.3500-3100BCE, Ceramic, The Metropolitan Museum of Art, New York City, USA.
Unearthed in the ancient Mesopotamian city of Uruk, this highly detailed ram head signals a vital shift in human culture. That being the shift from a nomadic to a sedimentary, agricultural lifestyle here domesticated animals made up an important part of people’s livelihoods. -
Pre-Dynastic Egypt, Two Dogs Palette,3100BC,Ashmolean Museum, University of Oxford
Ornate palettes such as these were a symbol of wealth and status in Pre-Dynastic Egypt. Not only due to their craftsmanship but also because these palettes were used to apply makeup worn primarily by the noble class. -
Hongshan Culture, Pendant in Form of a Mask, c.3500-3000 BCE, Jade (nephrite), Freer Gallery of Art, Smithsonian Institution, Washington, DC Ornate charms are nothing new in the world of prehistoric art, however materials such as jade require advanced techniques and additional efforts in mining and collecting that are not seen in the ivory and stone artifacts of the Paleolithic. -
Art of Egypt's dynastic perion
-Dr. Amy Calvert, "Palette of King Narmer," in Smarthistory, August 8, 2015, accessed February 19, 2026, https://smarthistory.org/palette-of-king-narmer/. -
Pre-Dynastic Egypt,Palette of King Narmer,3000–2920 BC,Siltstone,Egyptian Museum, Cairo
This palette signifies the birth of one of the longest standing civilizations in human history. Depticting the unifying of upper and lower Egypt, it is one of the most important historical artifacts in Egypt. -
Examples of Ancient Sumerian art
-Standing Female Worshiper - Sumerian - Early Dynastic IIIa - the Metropolitan Museum of Art. www.metmuseum.org/art/collection/search/329080.
-Search Our Collections | The Institute for the Study of Ancient Cultures of the University of Chicago. isac-idb.uchicago.edu/id/36098fce-449e-4613-9130-4075af42f247. -
Sumerian Culture, Khafajah, Sin Temple IX
Early Dynastic Sumer II-III, ca. 2700-2600 BC, Limestone, Modern Restoration, University of Chicago
This carved plaque perfectly displays how ritual and hierarchy was portrayed in ancient Sumeria. From the servants carrying offerings at the bottom to the nobility positioned at the top seated on thrones. This portrayal of hierarchy is one of the defining features of ancient Sumerian art -
Art of the Old Kingdom Period of Egypt
-Prakash, Tara. “Egypt in the Old Kingdom (Ca. 2649–2130 B.C.).” The Metropolitan Museum of Art, 1 Feb. 2019, www.metmuseum.org/essays/egypt-in-the-old-kingdom-ca-2649-2150-b-c. -
Sumerian Culture, Standing Female Worshiper, 2500-2600 BC, Limestone, The Metropolitan Museum of Art, NYC.
Figurines such as these were a vital part of Sumerian religion and worship. Meant to act as stand ins for the people they depict so that they may worship eternally. -
Sumerian Culture,Ubaid Standing Bull,2500 BC, Copper Alloy, The British Museum.
Bulls were an important animal in Sumerian religion as they were symbol of strength and divinity. Statues such as these were important as their presence in Sumerian temples gives us a window into Sumerian religious practices. -
Old Kingdom Egypt,King Sahure Accompanied by a Divine Figure,2458–2446 BC,Gneiss,the metropolitan museum of art
This statue depicts an exchange between a king and a god of upper Egypt in which the god offers the king an ankh. It is likely that this meant to depict the kings good standing with, and perhaps status over, the lesser gods of Egypt. -
Old Kingdom Egypt,Sistrum Inscribed with the Names of King Teti,2323–2291BC,Travertine,the metropolitan museum of art
A decorative instrument venerating the god Horus. While ornate and inscribed with the name of the king, it is unknown if it was ever used or if it was simply for show. -
Prominent art of the Akkad civilization
-Victory Stele of Narām-Sîn · HIST 1039. hist1039-16.omeka.fas.harvard.edu/items/show/9. -
Akkadian Culture,Victory Stele of Narām-Sîn, 2,250 BC, Limestone, Louvre Museum Paris, France.
This artifact is meant to act as a monument to Narām-Sîn victory. To serve as propoganda and intimidation to those he defeated and to exalt himself to the level of the Gods. -
Old Kingdom Egypt,Kneeling Captive,2458–2446 BC,Gneiss,The Metropolitan Museum of Art
Art depicting conquest over foes is nothing new in the ancient world, however very few of these are shown through full sculptures. This statue of a captive was likely one of many and was likely sculpted in such a way to allow to the viewer to truly grasp just how pitiful and weak the kings enemies were. -
-Hippopotamus (“William”) - Middle Kingdom - the Metropolitan Museum of Art. www.metmuseum.org/art/collection/search/544227.
-https://www.metmuseum.org/essays/egypt-in-the-middle-kingdom-2030-1640-b-c -
Middle Egypt, Model of a Porch and Garden,1981-1975 BC,Wood, paint, copper, The Metropolitan Museum of Art
This artifact gives us an interesting look into Egyptian architecture and death rituals. Its believed this model might've been a libation basin or a "Soul House" used to house offerings. -
Middle Egypt, Hippopotamus ("William"), 1961-1878BC,Faience, The Metropolitan Museum of Art
Hippo's were an important part of Egyptian life and mythology. As one of the most dangerous creatures in Africa, they were feared and respected creatures. These figurines were found in a tomb perhaps to act as fearsome protectors. -
Middle Kingdom,Leopard-Head Girdle of Sithathoryunet,1887–1813BC,Gold, amethyst, diorite pellets,The Metropolitan Museum of Art
This girdle is an excellent example of Egyptian craftsmanship. It's ornately detailed leopard heads and amethyst beads show a painstaking attention to detail and love for the craft. -
Prominent art of the Babylonian civilization
-German, Senta. “Law Code Stele of King Hammurabi.” Smarthistory, 8 Aug. 2015, smarthistory.org/hammurabi-2/. -
Babylonian culture,Law Code Stele of King Hammurabi,basalt,1792–1750 BC,Musée du Louvre, Paris
As a monument to Hammurabi's rule, this stele bears incredible historical and cultural significance. Not only is it the first written law code in history, but it also served to exault Hammurabi in the eyes of his people by putting him on par with the gods. -
-Roehrig, Catharine H. “Egypt in the New Kingdom (Ca. 1550–1070 B.C.).” The Metropolitan Museum of Art, 1 Oct. 2000, www.metmuseum.org/essays/egypt-in-the-new-kingdom-ca-1550-1070-b-c.
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New Kingdom Egypt,Block from a Relief Depicting a Battle,1427-1400BC,Sandstone, paint,The Metropolitan Museum of Art
This painted relief depicts the defeat of a western Asian army at the hands of Ramesses II's army. The crowding of bodies and the looks of fear on the opposing men's faces makes this relief feel like a more honest depiction of war than what we've seen up to this point. -
New Kingdom Egypt,Ripe Barley,1353-1336BC,Limestone, paint,The Metropolitan Museum of Art
Unlike other reliefs depicting grand battles or noble kings, this relief pays homage to the life sustaining crop harvested by the Egyptians. In this way the piece feels far more earnest and homely, showing gratitude to the humble grain. -
New Kingdom Egypt,Stelophorous Statue of Bay,1294-1250,Limestone,The Metropolitan Museum of Art
This statue was of a scribe, a well respected title in ancient Egypt. So well respected that many royal scribes had their own statues made, an honor usually reserved for the royal family. -
Prominent art of the Assyrian civilization
-Relief Fragment: Assyrian Soldier Conducting Captives Across the Water - Assyrian - Neo-Assyrian - the Metropolitan Museum of Art. www.metmuseum.org/art/collection/search/322612.
-Human-headed Winged Lion (Lamassu) - Assyrian - Neo-Assyrian - the Metropolitan Museum of Art. www.metmuseum.org/art/collection/search/322609.
-(Relief Fragment: Assyrian Soldier Conducting Captives Across the Water - Assyrian - Neo-Assyrian - the Metropolitan Museum of Art) -
Assyrian Culture,Human-headed winged lion (lamassu),884-859 BC,Alabaster,the metropolitan museum of art
These lamassu statues stand as spiritual guardians of the sacred temples and palaces of the Assyrian Empire. They demonstrate not just the advancing technical skill of human civilization but also the evolving religious landscape. -
-Department of Greek and Roman Art. “Greek Art in the Archaic Period.” The Metropolitan Museum of Art, 1 Oct. 2003, www.metmuseum.org/essays/greek-art-in-the-archaic-period.
-Department of Greek and Roman Art. “Geometric Art in Ancient Greece.” The Metropolitan Museum of Art, 1 Oct. 2004, www.metmuseum.org/essays/geometric-art-in-ancient-greece.
-Buis, Alena. “Orientalizing Period.” Art And Visual Culture: Prehistory to Renaissance, pressbooks.bccampus.ca/cavestocathedrals/chapter/orientalizing. -
Geometric Greek,Terracotta Neck-Amphora,710BC,terracotta, The Metropolitan Museum of art
This amphora demonstrates the defining characteristics of the Greek Geometric period. Particularly its stick figure depictions of humans and animals and its focus on military imagery -
Assyrian culture,Lion-Hunting Scene, King Ashurbanipal,668-631BC,The British Museum
Reliefs were a common way for kings of the past to glorify themselves. In this example, the slaying of a lion is a way to show strength and domination over nature -
Assyrian culture,Relief fragment: Assyrian soldier conducting captives across the water,668–627BC,Alabaster,The Metropolitan Museum
To show their military might, Assyrians and many other cultures would depict themselves conquering and humiliating their enemies. These reliefs served not only as propaganda but as a way for kings to show their power and ruthlessness. -
Archiac Greek,Bronze mirror with a support in the form of a nude girl,600BC,Bronze,The Metropolitan Museum of Art
The girl depicted in this sculpture is thought to be that of a Near Eastern deity believed to be a precursor to the goddess Aphrodite. Considering this fact, it is very apt that she should be part of the mirror stand. -
Archiac Greek,Terracotta antefix (roof tile),600BC,Terracotta,The Metropolitan Museum of art
This roof tile depicts a figure of ancient Greek myth, Medusa. It's likely that this sculpture could have served as a gargoyle of sorts and was used to ward off evil. -
Orientalizing Greek,Corinthian black-figure jug,580BC,The Metropolitan Museum of Art
The orientalizing period is defined by its influence taken from eastern cultures. There is a noticably shift towards depicting animals more prominently in art, as seen on this jug. -
-“The Achaemenid Persian Empire (550–330 B.C.).” The Metropolitan Museum of Art, 1 Oct. 2004, www.metmuseum.org/essays/the-achaemenid-persian-empire-550-330-b-c.
-Getty Museum, www.getty.edu/art/exhibitions/persia/explore.html. -
Persian Culture,Vessel terminating in the forepart of a fantastic leonine creature,500BC,Gold, The Metropolitan Museum
Cups bearing visage of animals are common throughout history. They serve as a display of incredible wealth and opulence. The craftsmanship required to create such pieces has only gotten better throughout the years. -
Archaic or Classical Etruscan,Carved amber bow of a fibula (safety pin),Amber,500BC,The Metropolitan Museum of Art
This amber carving is incredibly detailed and intricate especially for its size. It was part of a pin which where an important aspect of Etruscan culture and fashion. -
Early Classical Greece,Seer from the east pediment of the Temple of Zeus,470-455BC,marble,Olympia,Greece
This painting shows a shift from the earlier archaic style into the new classical. The figure is posed very naturalistic with much more attention placed on realistic anatomy. Most importantly however is the expression on the mans face which belies fear. Not the usual archaic smile or severe expression that was common for the time. -
Etruscan,Dancers from the walls of the Etruscan Tomb of the Triclinium,Tarquinia,Italy,470BC
Etruscan tombs were not only decorated with somber depictions of mourning and the afterlife. They were often decorated with scenes of banquets, dances, and merriment. -
Early Classical Greece,Terracotta pyxis (box),460-406BC,Terracotta,The Metropolitan Museum of Art
This pyxis box demonstrates the painting techniques of the early classical period. Particularly its use of the style of red figure pottery which would soon give way to the iconic black figure style we're all familiar with. -
High Classical,Terracotta volute-krater (bowl for mixing wine and water),450BC,Terracotta,The Metropolitan Museum of Art
This krater depicts a battle between the Greeks and the mythical Amazonians. The red figure style featured here is an iconic trait of high classical greek art. -
Late Classical Greece,Gold finger ring engraved with an image of Hermes,400BC,Gold,The Metropolitan Museum of art
This ring bears the image of the god Hermes fastening his winged boots before takeoff. Its interesting to think to whom this ring might have belonged. Perhaps a courier or an athlete or someone else who might need the blessings of the god of swiftness himself. -
Late Classical Greece,Marble grave stele with a family group,360BC,Marble,The Metropolitan Museum of Art
While much of the context behind this stele is hard to ascertain, it is clear that this is a scene of mourning. This stele was likely accompanied by an inscription or carved near a grave site so that it was clear who the mourned party was, however these details are lost to time. -
Relief with a Lion and Bull in Combat, Achaemenid, 359–338 BC, Limestone,Institute for the Study of Ancient Cultures Museum
Bulls and Lions were some of the fiercest creatures in Persian culture. To depict the two fighting was to depict the clash of two monstrous forces. -
Persian culture,Relief: two servants bearing food and drink,358–338BC,Limestone,The Metropolitan Museum
In many ancient cultures, drinks were a sacred part of everyday life for both kings and peasants. Reliefs during this time often depicted servants dutifully bringing libations to nobility, as seen here. -
Hellenistic Greece,Bronze statue of Eros sleeping,300-200BC,Bronze,The Metropolitan Museum of Art
Sculptures from the Hellenistic period took special care to portray children realistically. Baby Eros is portrayed napping (as children often do) with a plump body and relaxed posture. -
Hellenistic Etruscan,Alabaster cinerary urn,300BC,Alabaster,The Metropolitan Museum of Art
A large part of Etruscan burial practices was cremating the dead. This ornate urn depicts a battle between the Greeks and the Amazonians with a reclining woman on the lid. Perhaps this tells us something about individual this urn was created for? Its a fun thought.