Ancient Art

Ancient art refers to the many types of art produced by the advanced cultures of ancient societies with different forms of writing, such as those of China, India, Mesopotamia, Persia, Egypt, Greece, and Rome. The art of pre-literate societies is normally referred to as prehistoric art and is not covered by the scope of the ancient era. Furthermore, although some pre-Columbian cultures developed writing in the centuries preceding the European discovery of the Americas, these advancements are, on grounds of dating, largely covered with the dedicated topic of pre-Columbian art and associated sub-topics, such as Maya art, Aztec art, and Olmec art.

West Asia and Mediterranean

Arabian

The art of Pre-Islamic Arabia is related to that of neighbouring cultures. Pre-Islamic Yemen produced stylized alabaster heads of great aesthetic and historic charm. Most of the pre-Islamic sculptures are made of alabaster.

Archaeology has revealed some early settled civilizations in Saudi Arabia: the Dilmun civilization on the east of the Arabian Peninsula, Thamud north of the Hejaz, and Kinda and Al-Magar civilization in the central of Arabian Peninsula.
The earliest known events in Arabian history are migrations from the peninsula into neighbouring areas. In antiquity, the role of South Arabian societies such as Saba (Sheba) in the production and trade of aromatics not only brought such kingdoms wealth but also tied the Arabian Peninsula into trade networks, resulting in far-ranging artistic influences.

It seems probable that before around 4000 BC the Arabian climate was somewhat wetter that today, benefitting from a monsoon system that has since moved south. During the late fourth millennium BC permanent settlements began to appear, and inhabitants adjusted to the emerging dryer conditions. In southwestern Arabia (modern Yemen) a moister climate supported several kingdoms during the second and first millennia BC. The most famous of these is Sheba, the kingdom of the biblical Queen of Sheba. These societies used a combination of trade in spices and the natural resources of the region, including aromatics such as frankincense and myrrh, to build wealthy kingdoms. Mārib, the Sabaean capital, was well positioned to tap into Mediterranean as well as Near Eastern trade, and in kingdoms to the east, in what is today Oman, trading links with Mesopotamia, Persia, and even India were possible. The area was never a part of the Assyrian or Persian empires, and even Babylonian control of north-west Arabia seems to have been relatively short-lived. Later Roman attempts to control the region's lucrative trade were foundered. This impenetrability to foreign armies doubtless augmented ancient rulers' bargaining power in the spice and incense trade.

Although subject to external influences, south Arabia retained characteristics particular to itself. The human figure is typically based on strong, square shapes, the fine modeling of detail contrasting with a stylized simplicity of form.

Anthropomorphic stele at National Museum of Korea 02.jpg, Stele of a male wearing a baldric; 4th millennium BC; sandstone; height: 92 cm; from Al-'Ula (Saudi Arabia); in a temporary exhibition in the National Museum of Korea (Seoul), named Roads of Arabia: Archaeological Treasures of Saudi Arabia

Standing female figure wearing a strap and a necklace MET DT868.jpg, Standing female figure wearing a strap and a necklace; 3rd–2nd millennium BC; sandstone and quartzite; height: 27.5 cm, width: 14.3 cm, depth: 14.3 cm; from Mareb (Yemen); Metropolitan Museum of Art (New York City)

Incense burner MET DT893.jpg, Incense burner; mid-1st millennium BC; bronze; height: 27.6 cm, width: 23.7 cm; depth: 23.3 cm; from Southwestern Arabia; Metropolitan Museum of Art

Alabaster head Louvre AO4746.jpg, South Arabian head; 300-1 BC; alabaster; height: 20.5 cm, length: 11 cm, depth: 8.5 cm; Louvre

Griffon hadhramaut.jpg, Decorated capital of a pillar from the royal palace of Shabwa; stratigraphic context: first half of the 3rd century BC; National Museum of Yemen (Aden)

Stele Iglum Louvre AO1029.jpg, Funerary stele; 1st-3rd centuries AD; alabaster; height: 55 cm, width: 29 cm, depth: 8 cm; Louvre

Perfume-burner ibex Louvre DAO19.jpg, Perfume-burner with an ibex; 1st–3rd century AD; limestone; from Yemen; height: 30 cm, width: 24 cm, depth: 24 cm; Louvre

Stele funeraria figurativa, tardo periodo di tylos, bahrain, II-III secolo circa.JPG, Bahraini figurative funerary stele; about 2nd-3rd century; the Bahrain pavilion of Expo 2015 (Milan, Italy)

Egyptian

Due to the highly religious nature of ancient Ancient Egyptian civilization, many of the great works of ancient Egypt depict gods, goddesses, and Pharaohs, who were also considered divine. The idea of order characterizes ancient Egyptian art. Clear and simple lines combined with simple shapes and flat areas of colour helped to create a sense of order and balance in the art of ancient Egypt. Ancient Egyptian artists used vertical and horizontal reference lines to maintain the correct proportions in their work. Political and religious, as well as artistic, order was also maintained in Egyptian art. To clearly define the social hierarchy of a situation, figures were drawn to sizes that were based not on their distance from the painter's perspective but on relative importance. For instance, the Pharaoh would be drawn as the largest figure in a painting no matter where he was situated, and a greater God would be drawn larger than a lesser god.

Symbolism also played an important role in establishing a sense of order. Symbolism, ranging from the Pharaoh's regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and goddesses, was omnipresent in Egyptian art. Animals were usually also highly symbolic figures in Egyptian art. Colour, as well, had extended meaning—blue and green represented the Nile and life; yellow stood for the sun god; and red represented power and vitality. The colours in Egyptian artifacts have survived extremely well over the centuries because of Egypt's dry climate.

Despite the stilted form caused by a lack of perspective, ancient Egyptian art is often highly realistic. Ancient Egyptian artists often show a sophisticated knowledge of anatomy and close attention to detail, especially in their renderings of animals.
During the 18th Dynasty of Egypt a Pharaoh by the name of Akhenaton took the throne and abolished the traditional polytheism. He formed a monotheistic religion based on the worship of Aten, a sun god. Artistic change followed political upheaval. A new style of art was introduced that was more naturalistic than the stylized frieze favored in Egyptian art for the previous 1700 years. After Akhenaton's death, however, Egyptian artists reverted to their old styles.

Faience that was produced in ancient Egyptian antiquity as early as 3500 BC was in fact superior to the tin-glazed earthenware of the European 15th century. Ancient Egyptian faience was not made of clay but instead actually of a ceramic composed primarily of quartz.

Princess Nefertiabet before her meal-E 15591-IMG 9645-gradient.jpg, Stele of Princess Nefertiabet eating; 2589–2566 BC; limestone & paint; height: 37.7 cm, length: 52.5 cm, depth: 8.3 cm; from Giza; Louvre (Paris)
Pectoral and Necklace of Sithathoryunet with the Name of Senwosret II MET DT531.jpg, Pectoral and necklace of Princess Sithathoriunet; 1887–1813 BC; gold, carnelian, lapis lazuli, turquoise, garnet & feldspar; height of the pectoral: 4.5 cm; Metropolitan Museum of Art (New York City)

Standing Hippopotamus MET DP248993.jpg, '' William the Faience Hippopotamus''; 1961–1878 BC; faience; 11.2 × 7.5 cm; Metropolitan Museum of Art

Kneeling portrait statue of Amenemhat holding a stele with an inscription 01.jpg, Kneeling portrait statue of Amenemhat holding a stele with an inscription; circa 1500 BC; limestone; Egyptian Museum of Berlin (Germany)

Hatnefer's Chair MET 21M CAT047R4 (cropped).jpg, Chair of Hatnefer; 1492–1473 BC; boxwood, cypress, ebony & linen cord; height: 53 cm; Metropolitan Museum of Art

File:Statuette of the lady Tiye MET DT221869.jpg, Statuette of the lady Tiye; 1390-1349 BC; wood, carnelian, gold, glass, Egyptian blue and paint; height: 24 cm; Metropolitan Museum of Art

Egyptian Museum (337).jpg, Mask of Tjuyu; c. 1387–1350 BC; gold, past of glass, alabaster and other materials; height: 40 cm; Egyptian Museum (Cairo)

CairoEgMuseumTaaMaskMostlyPhotographed.jpg, The ''Mask of Tutankhamun''; ; gold, glass and semi-precious stones; height: 54 cm; Egyptian Museum
Nofretete Neues Museum.jpg, The '' Nefertiti Bust''; 1352–1332 BC; painted limestone; height: 50 cm; Neues Museum (Berlin, Germany)
Abu Simbel Temple May 30 2007.jpg, The entrance of the Great Temple of the Abu Simbel temples, founded around 1264 BC

Clevelandart 1914.714.jpg, Coffin of Nesykhonsu; c. 976 BC; gessoed and painted sycamore fig; overall: 70 cm; Cleveland Museum of Art (Cleveland, Ohio, US)

Canopic Jars (9174679414).jpg, Complete set of canopic jars decorated with hieroglyphics; 744–656 BC; painted sycomore fig wood; various heights; British Museum (London)

Cosmetic box in the shape of a composite capital MET DT4407.jpg, Cosmetic box in the shape of an Egyptian composite capital, its cap being in the left side; 664–300 BC; glassy faience; 8.5 × 9 cm; Metropolitan Museum of Art

Statuette of Anubis MET 38.5 EGDP022863.jpg, Statuette of Anubis; 332–30 BC; plastered and painted wood; 42.3 cm; Metropolitan Museum of Art

Philae temple at night.jpg, The well preserved The Temple of Isis from Philae (Egypt) is an example of Egyptian architecture and architectural sculpture

Lepsius-Projekt tw 1-2-108.jpg, Illustration of various types of capitals, drawn by the egyptologist Karl Richard Lepsius

Etruscan

Etruscan art was produced by the Etruscan civilization in central Italy between the 9th and 2nd centuries BC. From around 600 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta (especially life-size on sarcophagi or temples), wall painting, and metalworking, especially in bronze. Jewelry and engraved gems of high quality were produced.

Etruscan sculpture in cast bronze was famous and widely exported, but relatively few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was relatively little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans.

The great majority of survivals came from tombs, which were typically crammed with sarcophagi and grave goods, and terracotta fragments of architectural sculpture, mostly around temples. Tombs have produced all the fresco wall paintings, which show scenes of feasting and some narrative mythological subjects.

Bronze chariot inlaid with ivory MET DP137936.jpg, ''The Monteleone chariot''; 2nd quarter of the 6th century BC; bronze and ivory; total height: 130.9 cm, length of the pole: 209 cm; Metropolitan Museum of Art (New York City)

Louvre, sarcofago degli sposi 00.JPG, The '' Sarcophagus of the Spouses''; 530–520 BC; terracotta; 1.14 m x 1.9 m; from a tomb of the Banditaccia necropolis (Cerveteri, Italy); Louvre

Herakles and the Hydra Water Jar (Etruscan, c. 525 BC) -- Getty Villa - Collection.jpg, Water jar with Herakles and the Hydra; circa 525 BC; black-figure pottery; height: 44.5 cm, diameter: 33.8 cm; Getty Villa (California, US)

Decorazione fittile del santuario di portonaccio, 510-500 ac ca, acroteri, apollo 02.jpg, ''Apollo of Veii''; c. 510 BC; painted terracotta; height: 1.81 m; National Etruscan Museum (Rome)

Danseurs et musiciens, tombe des léopards.jpg, Fresco with dancers and musicians; c. 475 BC; fresco secco; height (of the wall); 1.7 m; Tomb of the Leopards ( Monterozzi necropolis, Lazio, Italy)

Set of jewelry MET DP122702.jpg, The Vulci set of jewelry; early 5th century; gold, glass, rock crystal, agate and carnelian; various dimensions; Metropolitan Museum of Art

Bronze tripod base for a thymiaterion (incense burner) MET DP21045.jpg, Tripod base for a thymiaterion (incense burner); 475-450 BC; bronze; height: 11 cm; Metropolitan Museum of Art

Earring in the form of a dolphin MET SF43119.jpg, Earring in the form of a dolphin; 5th century BC; gold; 2.1 × 1.4 × 4.9 cm; Metropolitan Museum of Art

Greek

Ancient Greek art includes much pottery and sculpture, as well as architecture. Greek sculpture is known for the contrapposto standing of the figures. The art of Ancient Greece is usually divided stylistically into three periods: the Archaic, the Classical, and the Hellenistic. The history of Ancient Greek pottery is divided stylistically into periods: the Protogeometric, the Geometric, the Late Geometric or Archaic, the Black Figure, and the Red Figure. Ancient Greek art has survived most successfully in the forms of sculpture and architecture, as well as in such minor arts as coin design, pottery, and gem engraving.

The most prestigious form of Ancient Greek painting was panel painting, now known only from literary descriptions; they perished rapidly after the 4th century AD when they were no longer actively protected. Today not much survives of Greek painting, except for late mummy paintings and a few paintings on the walls of tombs, mostly in Macedonia and Italy. Painting on pottery, of which a great deal survives, gives some sense of the aesthetics of Greek painting. The techniques involved, however, were very different from those used in large-format painting. It was mainly in black and gold and was painted using different paints than the ones used on walls or wood, because it was a different surface.

Terracotta Panathenaic prize amphora MET DP245711.jpg, The '' Euphiletos Painter Panathenaic prize amphora''; 530 BC; painted terracotta; height: 62.2 cm; Metropolitan Museum of Art (New York City)

God of Cape Artemision 01.JPG, The '' Artemision Bronze''; 460-450 BC; bronze; height: 2.1 m; National Archaeological Museum (Athens)

Parthenon (30276156187).jpg, The ''Parthenon'' on the Athenian Acropolis, the most iconic Doric Greek temple built of marble and limestone between -406 BC, dedicated to the goddess Athena

Bronze mirror with a support in the form of a draped woman MET DT276.jpg, Mirror with a support in the form of a draped woman; mid-5th century BC; bronze; height: 40.41 cm; Metropolitan Museum of Art

Calyx-krater Louvre CA929.jpg, Calyx-krater; 400-375 BC; ceramic; height: 27.9 cm, diameter: 28.6 cm; from Thebes (Greece); Louvre

Funerary stele of Thrasea and Euandria 02.jpg, ''The Grave relief of Thraseas and Euandria''; 375-350 BC; Pentelic marble; height: 160 cm, width: 91 cm; Pergamon Museum (Berlin)

Hermes and the infant Dionysus by Praxiteles.jpg, '' Hermes and the Infant Dionysus''; by Praxiteles; 330-320 BC; marble; height: 2.15 m; Archaeological Museum of Olympia ( Olympia, Greece)

Alexander Sarcophagus, Istanbul Archaeological Museums 2024 (1).jpg, The '' Alexander Sarcophagus''; 320–310 BC; marble; length: 3.18 m; Istanbul Archaeology Museums (Turkey)

Baltimore Painter - Volute Krater - Walters 4886 - Side A.jpg, Volute krater; 320-310 BC; ceramic; height: 1.1 m; Walters Art Museum (Baltimore, US)

File:Terracotta statuette of a draped woman MET DP117152.jpg, Statuette of a draped woman; 2nd century BC; terracotta; height: 29.2 cm; Metropolitan Museum of Art

Front views of the Venus de Milo.jpg, ''Venus de Milo''; 130–100 BC; marble; height: 203 cm (80 in); Louvre

Aphrodite Pan Eros NAMA 3335 Athens Greece.jpg, '' Group of Aphrodite, Pan and Eros''; circa 100 BC; marble; height (without base): 1.32 m; National Archaeological Museum (Athens)

Laocoön and his sons group.jpg, ''Laocoön and His Sons''; early first century BC; marble; height: 2.4 m; Vatican Museums (Vatican City)

MosaicEpiphany-of-Dionysus.jpg, Mosaic which represents the Epiphany of Dionysus; 2nd century AD; from the Villa of Dionysus (Dion, Greece); Archeological Museum of Dion

Examples of Historical Ornament, Greek by Boston Public Library.jpg, Illustrations of examples of ancient Greek ornaments and patterns, drawn in 1874

File:Antike Polychromie 1.jpg, Reconstructed colour scheme of the entablature on a Doric temple, which shows that Ancient Greek temples were coloured, and not just white marble

Hittite

Hittite art was produced by the Hittite civilization in ancient Anatolia, in modern-day Turkey, and also stretching into Syria during the second millennium BC from the nineteenth century up until the twelfth century BC. This period falls under the Anatolian Bronze Age. It is characterized by a long tradition of canonized images and motifs rearranged, while still being recognizable, by artists to convey meaning to a largely illiterate population.

"Owing to the limited vocabulary of figural types nd motifs invention for the Hittite artist usually was a matter of combining and manipulating the units to form more complex compositions"

Many of these recurring images revolve around the depiction of Hittite deities and ritual practices. There is also a prevalence of hunting scenes in Hittite relief and representational animal forms. Much of the art comes from settlements like Alaca Höyük, or the Hittite capital of Hattusa near modern-day Boğazkale

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