History of Western Art Comparison 1

A Progression of Idealistic Perfection in Sculpture Khafre Enthroned to Kritios boy premature Egyptian prowess from the Old domain, ca. 2575-2134 BCE, demonstrates uni cultivate structure. Egyptian artists and sculptors adhered to a system of strict detects know as canon to create this consistency. The Egyptian canon suggested flawlessness to be a rigid, ageless idealization of reality. Roughly 1,500 age later, a progressive canon emerged in Grecian art reflecting new ideals of nonsuch. Greek art beginning in the primaeval Classical Period, ca. 80- 450 BCE, digressed from the acceptance of pattern (influenced by Egyptian canon) to reflect greater realness, an shackle to close observation of reality. Greek perfection was achieved through rational come ining of the world, in which the canon was based on a mathematical system of proportion. A comparison of two engraves, Khafre Enthroned from the Egyptian Old Kingdom Period and Kritios son from the Greek Early Classical P eriod, illustrates a progression of rely to achieve perfection from Egyptian ideals of know takege and completeness to Greek ideals of vision and the natural.These sculptures salute an progression of artistic technique from set lay downula to changeful rationality, some(prenominal) with a share desire for excellence. The granite sculpture of Khafre Enthroned from Gizeh, Egypt, ca. 2500 BCE was recovered from the valley temple of pharaoh Khafre. Functioning as a funerary statue, it provided a substitute for the pharaohs soul, or ka. Khafre wears a plain kilt and displays Egyptian royalty with headdress and false beard. His flawless, muscular body sits upright with one go clenched in a fist.In concomitant to rigid posture, Khafres face is cold yet serene. Iconography of divine rule and uniting embellish the sculpture with lions bodies and papyrus plants decorating the throne, and a falcon sheltering pharaohs head. Like the immortality of the soul, Khafre appears to be u nceasing without opine to his real age or appearance. Khafre Enthroned aims to represent the divine nature of Egyptian rule as idealization of human race form to a god-like perfection. The marble sculpture of Kritios Boy from Greece, ca. 80 BCE marks an influential brain of stylistic evolution. In contrast to Khafre Enthroned, The Kritios Boy was created for a public audience. The Kritios Boys standing pose represents a immunity in his figure that divorces the solidity of the bolt seated Khafre. Rather than emanating timelessness, this naturalistic sculpture seems to capture a specific min in time. Mirroring a normal human stance of balance and weight hawk onto one leg, his stature is contrapposto.Furthermore, the Kritios Boys physical composition maintains a smooth out contour to his natural musculature. His head is sparingly turned with hair that seems to fall effortlessly in place. He is completely naked, corrosion only a relaxed expression on his face. With no indicati on of identity, the Kritios Boy exemplifies naturalism in Greek drive to order to analyze form into constituent part and represent the specific in clean of the generic. The figure sculptures of Khafre Enthroned and Kritios Boy exhibit a start and end point in an evolution of artistic technique.Although a angiotensin-converting enzyme male figure is the subject of both plant, canon clearly develops from Khafre Enthroned to Kritios Boy. Both works express a desire for perfection with the use of contrasting ideals. Egyptian artists prized completeness and timeless to achieve a god-like representation. Later, artistic form advances as Greeks sought naturalism and rationality. The flood tide of both early rigid and fluid canons formed Greek ideals of balance surrounded by the timeless and present. This drive to order led to foundations of Greek art that dramatically influenced art history from that point on.