The Venus of Willendorf is one of the earliest sculpted figures, dating from amidst 28,000 and 23,000 BC. She is a limestone sculpture, about four and third-eighths inches t any, and her distinguishing features are highly exaggerated: enlarged breasts and stomach, wide hips, and defined pubic area. However, she has no baptistery (a persons most distinctive social identifier), which leads to the assumption that the sculpture was an flawlessness extolling the sexual and reproductive functions of altogether females rather than a motion picture of a particular woman. The generalization of specific details accompanies all art from prehistory until the time of ancient Greece (excepting, of course, Egypts Amarna period which began at the end of the 18th Dynasty around 1,350 BC).
Another widely recognized objective which also bears this conceptual view of reality is the Sumerian pattern of Ur (c. 2,700 BC). On either side of this object are three narrative bands depicting the Sumerian king, his multitude, and his subjects participating in various activities after a victory over an opposing army: soldiers presenting prisoners of war to their king, charioteers and foot soldiers marching, the king feasting with guests, and common people in procession bringing offerings to him. Consistent throughout all six bands are the portrayal of the king as physically larger than everyone else and all figures, people and animals, are shown in a composite visibility.
The utilization of hierarchy of scale in the specimen of Ur (wherein the larger a person is shown, the greater his status) makes very get through who the most important and highest regarded person in the scenes is. Composite profile serves to make all the figures easily identifiable; with their profile legs, window dressing torso, profile head, and frontal eye, all their distinguishing features are visible and lightheaded to recognize.
The conceptual nature of art was...
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