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Sample essay topic, essay writing: Ancient Sculpture And Architecture And Its Influence On Renaisannce Sc - 1105 words
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Ziggurats were used in ancient times for purposes of worship and to fulfill spiritual needs. One example, The Pyramid of the Magician, has a legend attached to it depicting the god Itzamna who had single-handedly built it in one night. The Pyramid of the Magician is, by 100 feet, the tallest architectural structure in the city of Uxmal on the Yucatan peninsula. Interestingly enough, the pyramid has a stairwell that faces the setting sun on summer solstice. Also of note, the whole city is perfectly aligned to mimic how the planets were thought to lie in the solar system at the time.
At the top of most Ziggurats, there were sanctuaries that were dedicated to the protective gods and/or goddesses of that particular city. The buildings were normally magnificent in size and the stairways leading up to the sanctuaries normally consisted of a very long series of steps. Experts feel that this symbolism represents how various peoples wished to unite the heavens and the earth. As ancient as Ziggurats may seem, they can easily be compared to modern day churches and place of worship. Modern day churches are used presently as places where people can worship their god, who is felt to protect and watch over them; highly comparable to the purpose of the ancient Ziggurats. Not only are their purposes analogous, but their appearances can also be similar
For instance, most modern day places of worship have some sort of symbolic representation of their god near or at the very top of the building. This may seem commonplace to most, but perhaps the origin of the influence comes from the ancient architects. The long and high stairways of most Ziggurats can be compared to the symbolism that we, today, use near the top of churches. Along the same lines of thought, modern day churches also normally possess some sort of symmetry, whether it is to the surroundings or within the structure itself. This can be paralleled to the Pyramid of the Magician in that that structure was symmetrical to the solar system.
Most modern day facilities, however, have symmetrical attributes to their outer appearance. Church architecture could be researched in depth, but the purpose here is to express some similarities between the ancient centers of worship and modern day facilities. One such example could be the prevalent grand expanse. Perhaps this attribute is to accommodate for the large amount of worshippers, which does not seem to fluctuate in accordance with history. Regardless of the timeline, there can always be places of worship found to be in existence.
Like places of worship, another reliable characteristic of various civilizations is artistic expression. No matter what or where one is studying, there are always forms of artistic expression. For example, sculptures can be found dating back to the ancient days of Egypt. One famous sculpture in particular, The Pair Statue of Mycerinus and Queen Kha-merer-nebty II, wasn't found until the early 1900's. It was discovered in the temples at Giza by archaeologists from the MFA and Harvard University.
Although the detail and individuality is considered extraordinary for the times, it can be seen in later sculptures that there were great advances throughout time in reference to sculpting. Donatello's Bronze David sculpture was so awe inspiring that there were even poems produced (attached) regarding its unusual nature. It is obvious to the untrained eye that the sculpture is of much more detail than those of ancient Egypt.A sword in his right hand, a stone in his left hand,He is naked. Shod and naked. Hatted and naked.The ribbons of his leaf-wreathed, bronze-brimmed bonnetAre tasseled; crisped into the folds of frills,Trills, graces, they lie in separationAmong the curls that lie in separationUpon the shoulders.Lightly, as if accustomed,Loosely, as if indifferent, The boy holds in graceThe stone moulded; somehow, by the fingers, The sword alien, somehow, to the hand.The boy DavidSaid of it: "There is none like that."The boy David'sBody shines in freshness, still unhandled,And thrusts its belly out a little in exactShamelessness. Small, close, complacent,A labyrinth the gaze retraces,The rib-case, navel, nipples are the featuresOf a face that holds us like the whore Medusa's--Of a face that, like the genitals, is sexless.What sex has victory?The mouth's cut Cupid's-bow, the chin's unwinning dimpleAre tightened, a little oily, take, use, notice:Centering itself upon itself, the sleekBody with its too-large head, this greenFruit now forever green, this offendingAnd efficient elegance draws subtly, supply,Between the world and itself, a shiningLine of delimitation, demarcation.The body mirrors itself.Where the armpit becomes breast,Becomes back, a great crow's-foot is slashed.Yet who would gashThe sleek flesh so? the cast, filed, shining flesh?The cuts are folds: these are the folds of fleshThat closes on itself as a knife closes.To so much strength, those overborne by itSeemed girls, and death came to it like a girl,Came to it, through the soft air, like a bird-So that the boy is like a girl, is like a birdStanding on something it has pecked to death. The boy stands at ease, his hand upon his hip:The truth of victory.
A VictoryAngelic, almost, in indifference,An angel sent with no message but this triumphAnd alone, now, in his triumph,He looks down at the head and does not see it. Upon this headAs upon a spire, the boy David dances,Dances, and is exalted.Blessed are those brought lowBlessed is defeat, sleep blessed, blessed death. The right foot is planted on a wing. Bent back in easeUpon a supple knee--the toes curl a little, graspingThe crag upon which they are set in triumph--The left leg glides toward, the left foot lies uponA head. The head's other wing (the head is beardedAnd winged and helmeted and bodiless)Grows like a swan's wing up inside the leg;Clothes, as the suit of a swan-maiden clothes,The leg.
The wing reaches, almost, to the roundedSmall childish buttocks. The dead wing warms the leg,The dead wing, crushed beneath the foot, is swan's-down.Pillowed upon the rock, Goliath's headLies under the foot of David. Strong in defeat, in death rewarded,The head dreams what has destroyed itAnd is untouched by its destruction.The stone sunk in the forehead, say the Scriptures;There is no stone in the forehead. The head is helmedOr else, unguarded, perfect still.Borne high, borne long, borne in masteryThe head is fallen.The new light fallsAs if in tenderness, upon the face--Its masses shift for a moment, like an animal,And settle, misshapen, into sleep: GoliathSnores a little in satisfaction.Randall Jarrell.
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