Your blind uncle is back in town. You did such a wonderful job describing a work

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Your blind uncle is back in town. You did such a wonderful job describing a work

Your blind uncle is back in town. You did such a wonderful job describing a work of art that he’s returned for more. But this time he’s interested in learning something else—namely, about representations of death and the afterlife. You see, he’s beginning to think about his mortality and is seeking insight on how past cultures have conceived of and represented this idea. Compare two sculptures from the Metropolitan Museum of Art from distinct cultures (i.e., Egyptian, Greek/Roman, Early Christian, Byzantine, etc.), offering a descriptive and thematic analysis of representations of the culture’s “take” on death. Choose two works from the list below – they must be from different cultures. Concisely and clearly describe the formal properties of the sculptures— i.e., what is represented, what medium is used, how the forms are modeled, etc. Note of any key similarities and differences. What function did the works serve? For what (likely) settings were they originally intended? For what (likely) patron? Based on their stylistic, and thematic characteristics, how do they reflect the attitudes toward death of their respective cultures?
Conclusion: Suggest which of the two works would offer your uncle more insight and/or comfort as a funerary monument? Why? If there was one (minor) adjustment or change you would make to the work to better accommodate your uncle’s ideals, what would it be?
Group 1: Egyptian
Corner of Niche from the Tomb of Akhtihotep, ca.2575–2551 BCE, painted limestone (58.123) – gallery 103
Funerary Stela of the Gatekeeper Maati, ca.2051–2030 BCE, limestone (14.2.7) – gallery 104
Funerary Figure of Isis, Singer of the Aten, ca.1353–1336 BCE, limestone (66.99.38) – gallery 122
Funerary Figure of Akhenaten, ca.1353–1336 BCE (New Kingdom; Amarna Pd.), granite (1982.50) – gallery 122
Shabti of Seti I, ca.1294–1279 BCE (New Kingdom), faience (26.7.919) – gallery 124
Group 2: Greek and Roman
Terracotta Funerary Plaque, Greek (Attic), ca.520-510 BCE, terracotta; black-figure (54.11.5) – gallery 154
Marble Funerary Lekythos, Greek (Attic), ca.375-350 BCE, marble (12.159) – gallery 158
Marble Sarcophagus with the Triumph of Dionysos and the Seasons, Roman (Late Imperial), ca.260-270 CE, marble (55.11.5) – gallery 162
Marble Sarcophagus Lid with Reclining Couple, Roman (Imperial), ca.220 CE, marble (1993.11.1) – gallery 169
Marble Sarcophagus Fragment, Roman (mid-Imperial), mid-2nd century CE, marble (20.187) – gallery 171
Group 3: Late Antiquity, Early Christian, Byzantine or Medieval
Sarcophagus with Scenes from the Lives of Saint Peter and Christ, Early Christian, early 300s, marble (1991.366) – gallery 300
Funerary Stele with Architectural Frame, Byzantine, 6th-7th century, limestone (36.2.6) – gallery 302
Icon with the Koimesis, Byzantine, late 900s, ivory (17.190.132) – gallery 303
Panel with a Griffin, Byzantine, 1250-1300, marble (2000.81) – gallery 303
Guidelines
• Double spaced; 4-6 pages in length; with normal margins and font size (i.e., 12-point)
• Include title, culture, artist’s name (if known) and approx. date of work at beginning of the essay
• All ideas or quotations borrowed from outside sources must be properly footnoted or cited
• All sources used over the course of research must be listed in a separate bibliography
Note: A useful resource for your research is the MMA’s Heilbrunn Timeline of Art History, which you can access at: www.metmuseum.org/toah

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