Images of Rulers expressed in different stylistic periods Creating art has been a practice exercised throughout centuries. The art that has been produced in the past gives historians insight into the philosophy and civilization of the time period. Ancient art is imperative because it allows historians to have a glimpse of a deceased culture. Images of rulers for example, are most often rendered in the time periods idea of an “ideal form”. Because of this, we can get a decent idea of what that time period considered supreme.
The artwork that will be examined for this paper are all images of rulers, they are Victory Stele of Naram- Sin, Equestrian Statue of Marcus Aurelius, Emperor Justinian and His Attendants and Equestrian Statue of Charles the Bald. Although these four works come from different stylistic periods and dates, they all exhibit similar principles and often have comparable features. The first work is from the stylistic period of Ancient Near East, which is dated around 3000-2000 BCE. During this period people began to settle, and started domesticating plants as well as animals.
The period also included a hierarchy or organization of ranking one person above the other. The art work is a stele, which is a large stone with a specific purpose. This stele is titled Victory Stele of Naram- Sin, it is from Susa, Iraq and is dated 2254-2218 BCE. The work is six feet tall and was made of a durable limestone so that it lasted through history. The limestone was likely hard to carve, truly showing the prominence of the stele. The purpose of this stele is to tell the story of one of Naram- Sin’s significant military victories as well as show his divine right to rule.
In the Victory Stele of Naram- Sin, the Akkadian ruler NaramSin is in the process of victory over the Lullubi people. His supremacy is shown by his size as well as elevation, he is the largest figure in the scene and is higher than the other figures presented. This is a common factor that is presented in the other works I will be discussing. Naram- Sin is shown muscular by his arms, which symbolize power, his pose indicates victory as well. He is recognizable as the leader by his crown, the crown has horns and also shows favoritism by the Gods.
He is accompanied by his soldiers who are in ideal form as well, but not as large as him. They are seen marching in diagonal bands up the hillside moving upward, symbolizing their victory. Because they have similar uniform and pose it gives an impression that they work as one unit, and work well because of it. The Lulu people however are smaller than the other figures, which shows them as being weak, they are also positi sitioned as if they are trying to flee and are begging for mercy, one of them is being killed by a spear to the neck.
Over all, the goal of the artist was to render Naram- Sin as a supreme leader, and tell a narrative symbolic story. The second work is from the stylistic period of Ancient Rome 80 BCE-c. 320 CE and Empire: late 1st century BCE to early 4th century CE. During this period, people took pride in themselves, ancestors, and their lineage. The art was made realistic but ideal and an upgrade from Ancient Greece art. They built many miles of pathed roads, as well as public and domestic buildings. The use of concrete, barrel and groin vaults also expanded the empire. The art work is made of durable bronze originally gilded, life-size statue.
It is titled Equestrian Statue of Marcus Aurelius and is dated at about 17 CE. It would have been placed in a forum, or open public area to be viewed by the public within the city. Its purpose was to show Marcus Aurelius as a peaceful triumphal leader. The statue Equestrian Statue of Marcus Aurelius, is of Marcus Aurelius on horseback and was originally found in Rome. He was a peaceful, talented, and successful philosophical leader of the empire. The emperor that ruled before him didn’t have a successor so he adopted him. He was also an intelligent man who wrote down thoughts about life and leadership.
He is shown elevated on a horses back wearing a short tunic with a cloak over his shoulder without any armor or weapon, this attributes to his peacefulness. The elevation of the ruler depicts that he is important as well as his size. He is rendered slightly larger than the horse. This isn’t realistic, but the artist did this on purpose to show his rank. This is similar to the stele discussed previously. As far as his position, historians believe he is doing one of two things. It is believed that at one time there may have been an enemy shown under the horses hoof and Marcus Aurelius was granting him peace with his arm raised.
It is also believed he may have been addressing people. The horse pictured willingly responds to his touch, readily omitting to the orders of his master with his mane held high, he is delighted to serve his leader. This is symbolic because the horse responds just like the people and military of the area would. The third work is from the stylistic period Byzantium, it is dated in the 6th Century. Earlier there had been a split in the empire and Constantine took his seat eastward. In the West, they are Christian but some will still be under emperor rule, although eventually they will be taken over by other leaders.
The work is titled Emperor Justinian, and His Attendants it is located on the North wall of the apse in the San Vitale in Ravenna. An apse is a semicircular part of a wall, and the San Vitale is a massive building which was originally a church made for the Justinian family and court. They never actually stepped foot in the church but it was intended for them. This church was also dedicated to the saint Vitalis. The art work Emperor Justinian, and His Attendants includes three different groups of people, they include there clergy men, three administrators, and six military soldiers.
Overall he is attended by twelve men. The artist of this work did this for a symbolic reason, because Jesus had twelve disciples. All of them have very distinct features, although the soldiers are generalized. The background is gold because they are standing in the church, which is a holy place. Justinian is head of the empire and in charge of everything. He regards himself as an earthly leader, wearing gold and purple. Also a crown, and halo which is unusual for the stylistic period. Usually only saints, angels and holy individuals have halos. In a ritual of communion, taking part of the reunion.
Carries bread (body of Christ), Blood (wine) Add more info . As far as the style, the forms are schematic, meaning they follow a scheme or certain pattern. It is not naturalistic, which means it is not drawn directly from nature. Artists during this period were more concerned with trying to communicate a message rather than make the figures look realistic like in the Ancient Rome period. The bodies also appear flatter but not completely 2-demensional because the artist indicated light and shadows. The style is distinctive, showing stylized renditions of the human figures.
The stiff style shown in this work was favored during this stylistic period. The fourth art work is from the stylistic period of Early Medieval Europe which is dated at c. 625-c. 1020 and the Carolingian period in the 9th century. In the Early Medieval time, the empire is gone and the civilization is lacking political structure. Also the literacy and life expectancy rates have declined as well. In the Carolingian time, Charlemagne; the king of the Franks begun a large empire and the architecture becomes similar to roman. There also is a renewed interest in naturalism.
Artists of the time attempt naturalism, but they don’t always succeed. The small art work is only nine and a half inches tall and is titled Equestrian Statue of Charles the Bald, it is cast in bronze and its original location is Metz, France. Likely, the reason that the statue is small is because people of the time had not learned how to cast in bronze something that was lifesize. The art work Equestrian Statue of Charles the Bald, was once thought to be a portrait of Charlemagne but now the figure is identified as his grandson, Charles the Bald who was a holy Roman Emperor.
Similar to the statue of Marcus Aurelius, the ruler is shown elevated on a horse who happily responds to its master, symbolism is shown here referencing that the people of the region do the same. Stylistically, the statue is not naturalistic. The artist rendered the figures based on concept, not a natural rendering of a person. There is a three dimensional attempt, with a degree of realism. The crown worn by Charles the Bald indicates he is an emperor, the globe shows he is a ruler of the world. This art work emulates Marcus Aurelius.