Votive Figures in Mesopotamian Art
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Questions and Answers

What is the material used in the Statues of Votive Figures?

  • Wood
  • Gypsum inlaid with shell (correct)
  • Bronze
  • Marble

What aspect of religion do votive figures represent?

The aspect of Mesopotamian religion as representations of mortal men and women.

What do worshippers do with images of themselves?

Set up images of themselves in a shrine before a larger image of god.

What is a characteristic feature of the faces and bodies of the statues?

<p>Stylized faces and bodies (C)</p> Signup and view all the answers

What two types of clothing can be identified in the art history concept?

<p>Covers but doesn't accentuate, covers and accentuates (B)</p> Signup and view all the answers

How are males depicted in the statues?

<p>Bare-chested in sheep skin shirts with stylized beards.</p> Signup and view all the answers

What is a feature of the eyes of the figures?

<p>Wide-eyed with head tilted upward.</p> Signup and view all the answers

What was the purpose of the inscriptions on the statues?

<p>To remind the god to look favorable upon the donor, wish to be granted, and increase the donor's reputation.</p> Signup and view all the answers

What does the stocky body type of the statues symbolize?

<p>Strength (B)</p> Signup and view all the answers

What does the arched eyebrows inlaid with materials show?

<p>Wealth and devotion (A)</p> Signup and view all the answers

What do the statues of votive figures represent?

<p>Donor males and females.</p> Signup and view all the answers

How is the hierarchical scale represented in the statues?

<p>Eyes are larger than the hands (A)</p> Signup and view all the answers

Study Notes

Statues of Votive Figures Overview

  • Originated from the Square Temple at Eshnunna (modern Tell Asmar, Iraq)
  • Created in Sumerian culture around 2700 BCE, made of gypsum inlaid with shell and limestone

Context

  • Integral aspect of Mesopotamian religion, representing mortal men and women as votive figures
  • Worshippers installed their images in shrines before larger deities, serving as a devotional act

Form and Design

  • Features stylized representations with V-shaped bodies and flared skirts, not realistic portraits
  • Unique clothing styles: men wore bare-chested sheep skin shirts; women wore full skirts with one shoulder exposed
  • No depictions of nudity in Mesopotamian and Egyptian art, contrasting with Greek depictions

Artistic Characteristics

  • Figures exhibit wide-eyed expressions and an upward head tilt, conveying devotion and attentiveness
  • Detailed arching brows inlaid with dark materials enhance the representation of wealth and piety
  • Stocky and muscular bodies, emphasizing robustness suitable for continuous worship

Scale and Representation

  • Hierarchical scale evident in proportions, such as larger eyes compared to hands, emphasizing key features
  • Frontal positioning of statues despite curved sides allows for a continuous gaze towards deities

Functionality and Purpose

  • Inscription serves three main functions:
    • Remind gods of the votive offerings and request favor
    • Express wishes of the donor
    • Augment the donor's reputation through wealth display
  • Statues acted as stand-ins for donors, ensuring constant reverence in the presence of the divine

Cultural Significance

  • Wide eyes facilitate uninterrupted connection to the god, reflecting the importance of readiness in worship
  • The upward tilt of heads indicates a lower status in the divine hierarchy
  • Robust body types symbolize the strength needed for enduring 24/7 worship practices

Artistic Choices

  • Material and simplified portraits prioritize speed and efficiency in the creation process, focusing on essential spiritual characteristics

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Description

This quiz explores the significance and context of votive figures from the Square Temple at Eshnunna. It covers their role in Sumerian religion and the materials used in their creation. Test your knowledge on these important artifacts of ancient Mesopotamia.

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