This is a really incredible, striking piece. It’s very stylized and harsh– Jesus adorned with taut skin pulled over visible ribs, open wounds, with a pretty horrific look on both his and his mother, Mary’s, faces. She looks distraught and agitated, and even exhausted, holding her clearly dead son with such a gruesome body. In a lot of images of Mary holding Jesus after his death, she seems to have an understanding (maybe given to her by God) that there’s a reason for this, and a way forward, and so she seems more at peace, but here, she’s sort of viscerally angry and confused. I feel really in awe looking at this piece, just sort of stunned by the violence and sharpness of it all.

I love that we can see all this blood dripping down and across them both, as well. It just feels so much more intense than anything we’ve seen before from Christian art. It’s a very deliberate departure from the more beautiful and pristine.

I can definitely feel a sense of trying to connect divinity to humanity– showing that even Mary and Jesus are sympathetic to and can understand our intense suffering. It feels like the kind of piece you’re meant to contemplate and mourn for. It allows for a more personal and emotional connection with these religious figures that comes with an understanding that you do have similarities.

This feels like it’s in one of those arch/triangle-like sections above a doorway or entrance, and my best guess is that it depicts something like a Last Judgment, so I wonder if it’s one somewhere in front of a Church of some kind?

There’s a lot going on in this scene. Christ/the Lord sits in a throne, with a hand up– seemingly passing some sort of judgment– making the sign of “As above, so below.” He’s surrounded on both sides with angels, some holding books, others holding swords, and more.

Right below him, what looks like an angel and a demon of some kind both hold pots (maybe filled with the souls/remains of people?) and face one another.

I can’t quite tell between some of the angels and people, but there seem to be a lot of people along the left side of the piece lining up and waiting for judgment, while on the right, people are devoured and hurt by demons and monsters. Above, we see angels flying above (and possibly holding things? I can’t quite see) in the heavens. It’s curious to me that there’s no specific ‘paradise’ option depicted, but we can imagine it. Unless, there’s a chance that the bottom left is meant to represent the Kingdom of Heaven? But that would be an odd choice. I’m surprised the artist didn’t choose to divide this world into heaven above and hell below. In general, I feel like it’s very mixed, with angels helping people in hell being hurt by the monsters, and other things like that. There seem to be some themes of redemption and salvation as possibilities.

It definitely fits into the Christian idea of hell as a motivator to be good and Chritian– especially if this is in a Church or monastery of some kind. It’s a very intense piece, and I feel stuck and cramped looking at it– maybe even a little worried. It’s sort of overwhelming. I feel like I’m waiting in that same line that all those passed souls are– which is I imagine what it might want me to feel.

This piece, to me, looks slightly raised/curved, like it either wasn't meant to lay flat, has warped with time, or has some parts that are raised/higher than others as part of its design. Maybe it uses wax? It depicts Theotokos holding baby Jesus while sitting upon a throne, and what seems to me like saints of some sort (I don’t imagine priests, since they have halos)? They seem to be sort of soldier-like as well, though, armed, armored, and protective.

Above them all, two angels look up to what I imagine are the heavens, at God (?), who is producing light and shining it down on Theotokos and Jesus. It definitely feels like there’s a lot of upward movement in this piece, as even Theotokos looks up and to one side, like she’s watching for something out of the corner of her eye, and the angels look up further to God.

I also feel like we get a sense of hierarchy through this; the saints are in a world somewhat like our own world– with their feet touching the ground– Theotokos and Jesus slightly above– elevated on a throne, looking beyond us– and then the angels in the world of God and heaven, pointing up to it since we can’t even begin to imagine it.

The baby Jesus is definitely depicted as older, also! The hairline is weirdly pushed back, though he looks fairly normal otherwise, so it’s definitely leaning into that idea of depicting Jesus as older/wiser.

Maybe it’s just in the photo I’m looking at, but it also looks like there’s some reflection on one of the angels’ halos, kind of like the light on Theotokos is bouncing back onto him.

The color is very gorgeous in this piece. The gold leaf is stunning as always, but I feel particularly impressed with and drawn in by the lighting on the sort of saint-soldiers’ robes. The white one is very gorgeous and intricate, and the darker shading near the bottom is really satisfying to me as is the shadow on the red/purple rode.

That said, I’m a bit confused about the way the lighting works/where the light source is in this piece when I understand that there’s light shining down on Theotokos (that doesn’t seem to be making shadows– it’s Divine, fine), but there also seems to be a light source from the left side of the piece that’s making a sharp shadow under the left saint’s arm and a softer one under the right saint’s arm?

The art is incredibly brilliant, with an incredible gold (gold leaf?) background, and gold littering the clothing of who I assume is Jesus in Mary’s lap, alongside the stool and platform they sit upon, which seems to be It seems to be a mosaic, sort of fading away/peeling back. I imagine the gold would symbolize some sort of ‘light of heaven’ or ‘Glory of God’. Seating her on the stool/platform is interesting, as it suggests status in her inability to touch her feet to the floor (same with the jewels on her things).

Mary is wearing dark robes, which remind me of the version/period of her often referred to as Nuestra Señora de la Soledad, or Our Mary of Solitude (who my original name, Marisol, comes from). Of course, though, she is not currently grieving the loss of her child, as he sits directly in her lap. She has a very solemn look on her face, and her eyes look almost exhausted (to me). I wonder if he’s just returned? She has her hand on his shoulder, too, showing some amount of care and nurturing.

I like that Jesus is wearing sandals as a child, too, sort of emphasizing his image as a historical figure– especially in addition to his kind of adult face even though he’s a child.

I can’t tell if she’s in blue from just this image, though, so it’s hard to say if she’s actually in anything like that state, or if she’s just being depicted in blue like she often is.

Mary is much larger than Jesus is, though Jesus’s halo also has a cross within it. That said, I like that they’re both depicted as holy and important (I feel this sentiment goes away with time for many Christians, who emphasize God, Jesus, and the Holy Spirit much more than Mary).

I love how solid this art is with its colors– gold as its primary, and then some amount of white, green, red, and the dark blue/black of Mary’s robe.

This piece, right off the bat, feels like some definite propaganda from the Emperor/King alongside the Church (Catholic, I imagine) and military. Our focal point is obviously the King/Emperor in the middle with a halo around his head, signifying his divinity and connection to that. We’re getting a very ‘divine right to rule’ sort of energy, and I feel that this piece is trying to show their collective power and collaboration as the general authority of whatever country/nation/empire this comes from. They all have very neutral expressions, and eyes that sort of stare through you– almost intimidating.

They’re also holding a whole lot of riches! The border is very beautiful, full of little gems that, in my eyes, also signify the wealth that comes with their authority. I’m curious about their color choices, with so many blues, greens, golds, reds, and then even some black, white, and orange. It feels like there’s a lot going on, but I do still feel like there’s a very central few colors. It’s not too chaotic.

I’m not super interested in the piece overall, but I’m really drawn into the color/temperature with so many cool tones and a sort of solemn atmosphere. I could almost imagine all these people standing as this painting is done of them (though it likely wasn’t done like that), and can feel the stale, stuffy energy.

This piece also depicts a fairly strong regression in realism and art ‘style’– no more exact contrapposto– and I’m curious as to why. It’s definitely mosaic, though. In the corner, we see a little bit of text that says ‘MAXIMIANUS’, which I don’t know exactly the meaning of, but I can guess is a name.

This piece is a huge, incredible scene with so much going on in it. It seems to be pretty high relief, with different Roman soldiers fighting and clambering over one another. Some are riding or leading horses as well, and some people have fallen to the ground— spears in their chests and sides. It’s definitely a dramatic and intense scene with a lot of violence and death. I wonder whether the purpose of it was storytelling, to demonstrate power and strength of a people/army, or just to memorialize an actual historical war/event.

The huge slab stands on a couple pedestals with little lion figures on them, though I’m not sure how intentional the choice in animal was. It definitely does symbolize valor, strength, dedication, determination, etc, so it seems like the right kind of choice for a war scene.

I feel pretty overwhelmed by this piece— there’s so much going on in every direction, and the chaos makes me sort of tighten up. I imagine it’s the same for the figures in the piece, as a lot seem stuck between one another, or trying to comfort themselves while in pain. Others seem really determined and need to move forward.

We do definitely see two ‘sides’ in this piece, though— with a more heroic, noble, and civilized Roman army and then the other people in more casual clothing, depicted a bit more like barbarians as they grab at all the Roman soldiers. The ‘barbarians’ are very squished to the bottom and have expressions of agon and have beards (I wonder if it’s an expression of lack of civilization in them), so that we get a sort of hierarchy among them (the Romans are clearly winning). I have to say, though, that we also get a sense of protection within the piece with some figures. For example, I see one interesting scene of a soldier with his hand around the jaw of another man who’s sitting in front of him, his shield cast around him as if to protect him.

I also feel like, despite all the chaos, we do have a sort of focal point, with a man riding a horse in the center of the piece, one arm out as if to gesture to a crowd. I wonder if he’s some sort of beloved leader, or someone the artist is trying to glorify for one reason or another. His gesture is a sort of oration gesture, and reminds me of previous depictions of Augustus.

This piece is incredibly striking– intricate details throughout the entire face, with deep wrinkles, sagging jowls, and a furrowed brow, alongside some scratches/scars, birthmarks, and other imperfections. There are some lighter wrinkles on the neck, too, that are really well done. I’m enamored with the commitment to realism, and curious as to why the artist chose this man to depict.

I wonder if it’s some sort of dedication to ancestors/heritage/history, or a symbol of the society’s (Roman’s?) pride in those things. It’s like they’re displaying that they admire age as a symbol of knowledge, wisdom, and experience. Unlike the ideal bodies depicted in a lot of Greek art, he’s an ideal in a mental context. If this is commissioned, he’s not trying to make himself look perfect, but unique and powerful in his own right.

He has some really sharp facial features and a very focused expression, and in general, it’s such a specific, non-ideal (physically, at least) depiction of a person, that I imagine they were likely wealthy/powerful in their life (or maybe it’s just a representation of the power/wealth that can come with age generally). In that case, they’d likely be some sort of patrician.

The eyes freak me out a little bit, but also clue me in to the fact that this piece was definitely originally painted in many colors that have since worn off.

I really love this depiction in general, though. I love how deep the wrinkles are, and how worn the face feels all around. It feels like I could reach out to touch the skin and it’d be soft, warm, and fleshy. Even though he seems really stoic and intense, he also feels sort of like a grandparent. I can see his vulnerability and honesty behind the way his face rests. I also really like how the wrinkles all around almost make him feel tree-like to me.

The piece is interesting and odd from the get-go, especially with the inclusion of a little baby seemingly holding onto the Roman man’s leg/cloth. I imagine the baby is a Cupid, as he seems to have the beginning of a wing behind him, and I find that odd baby-things in Roman and Greek art usually have Cupid (or specifically Eros/Psyche). I can’t tell what exactly the baby is on– some sort of animal or thing? It seems like it’s diving forward, so it could be a shark/dolphin/whale of some kind, or maybe even a diving bird.

The man himself is clearly Roman and of great importance, and reminds me of depictions I’ve seen of Augustus, the first Emperor of Rome, but I couldn’t say that it’s him with 100% certainty (I’ll still refer to him as such throughout this). In my eyes, this piece is a clear display of power. Augustus is wearing a beautiful, intricate breastplate that depicts scenes of battle (I can’t tell which battle) alongside the Gods to draw attention to his power in battle and war, and especially his victory, while also emphasizing his divine connections. He also seems to be pointing away, which is a very commanding position– maybe toward an army or his subjects, or possibly orating in general.

I’m not sure exactly how the Cupid ties in, since a god of love feels like an interesting choice, but I imagine it’s just a show of connection to divinity and culture/history as a whole– really just adding to the propaganda of this image and helping to make him look like a jack of all trades. Also, if I remember correctly, Julius Caesar to be the son of Venus, so that could be part of it.

I’m really impressed by the cloth around his waist. It’s incredibly detailed and high relief, and it’s folded around itself in a really elegant way.

I think that he all around feels like a very imposing figure in this piece. His contrapposto stance is strong, and he’s not afraid to take up space with his body language. His expression seems fairly casual and nonchalant, but it’s still serious and intense. I feel smaller while looking at the piece, and the air is more tense. I think it’s likely made of marble or stone of some kind, but I can’t quite tell.

I felt struck by this piece right away– the fear that seems to encircle all its inhabitants as they ride into battle against one another. There feels like there's some Persian influence of this art, though I wonder how much of that is just because of the subjects they’re depicting. On the right, we see one side of the battle– maybe a Persian army– and the Macedonian side of the battle on the left (I’m guessing based on my very vague knowledge of the Greco-Persian wars).

It feels like this is a really big turning point in whatever this battle is. It’s chaotic– there’s people crushed between the wheels, all the spears are pointed to one side, and there isn’t a clear story of a winner or loser, moral one or evil one. That said, I’m sure there is a winner, and this does seem like a very large show of power. It’s commemorative but sort of like propaganda– a display of hard power to prove their strength and superiority.

One of the more notable things is that a person to the left of the chariot has been stabbed by someone who is maybe Alexander the Great, though it could be some other Macedonian figure– the others pointing and staring, upset. Just knowing that makes it clear that he’s winning, but it’s interesting that the Persians are placed so highly above composition-wise. (maybe to suggest that they were so powerful, but still couldn’t win?).

The person in the chariot points toward the man stabbing him, but it seems to me like the men upon the horses in front of him are dismounting, maybe just to fight on foot, but I imagine more likely to abandon the battle. I guess that suggests even more strongly that this is a depiction of the beginning of the end for the Persians.

The man looks off into the distance, very exhausted and in pain. I get that feeling even more because his wrapped hand reminds me of that of a boxer or fighter of some kind, making me think that he might’ve just gotten out of a fight of some kind. He also has cauliflower ear, which makes me even more certain he’s a boxer. I can’t tell if he’s defeated, exactly, but he’s definitely drained. His expression is really dramatic and intense, and it almost looks like one of despair, so maybe maybe he has been defeated. It could also just be a very intense depiction of pain and exhaustion, though.

All that said, the way he’s seated still looks really powerful to me. He has a strong ‘stance’ (for lack of a better word), and seems like he’s also a bit energized and ready to fight again– maybe has some adrenaline running. His feet are hovering off the ground, and it feels like there’s some sort of potential energy in the way he’s positioned.

I wonder if there’s any meaning to this piece outside of it being a depiction of a human experience– could it be a sort of symbol/talisman, almost? Is it just a piece for decoration in the home or the city, or is it something that might exist near a boxing ring? Could it have some sort of significance in how it shows someone being able to handle pain and exhaustion– maybe a reminder to do the same, or a good luck charm that you’ll be able to? If he is a defeated boxer, could there be something about losing with grace?

I don’t have much to point out about it, but I really love the smoothness of this carving– each surface feeling very rounded and well-carved. The shine off every surface almost looks like glistening sweat, or an oiled body. Also: the color definitely isn’t intentional as bronze always gets discolored like that, but I feel like the way it exists on this piece really compliments it.

I really love everything about the way he’s positioned and the expression on his face. It feels like I’ve sat exactly like this before at the end of basketball games and things of the like. There’s a certain sort of competitive anguish in him.

The two figures in this piece are holding either side of some object, which looks like it might be a little chest or tray of some kind. One figure sits upon a simple chair, curling one hand upward as if making a gesture of some sort and holding the object with the other, but sort of loosely, as if they’re trying to hand it off– only still touching it to make sure the other has a grip on it and it won’t fall. The standing figure looks down at the other, holding the chest/tray rightly in one hand.

They both seem to be women and neither have very happy expressions, but the sitting figure seems more upset, with a sort of glowering look on their face, while the standing one has a soft, confident, maybe even smug smile. I’m curious as to what the context is– maybe the sitting figure has lost something, whether status or money or something else, to the other, and is frustrated at having to give it up? I could be looking a bit too into that, though.

The seated one does have a seemingly more elaborate hairstyle/headdress, while the other is dressed simply, and the seated one is clearly much larger than the other, as well, which makes me think they’re more important– maybe a goddess or just royalty of some sort. Also, the seated one is depicted in much more detail than the other.

They’re very close to one another, with the standing figure being almost between the sitting person’s legs, and I’m curious as to why that might be. It makes me wonder if they might have a more intimate relationship of some kind.

Also– a big thing is that the standing woman’s boob is out! I’m curious as to why. Maybe there’s some sort of sexual relationship?

Outside of the art, there is the fact that this piece is clearly displayed on the side of a steele/headstone of perhaps a mausoleum (I can’t tell the size/if there are other sides). It’s made of stone, which definitely adds to the idea that it’s made to last, perhaps for some funerary thing. There’s words across the top of the building, though I don’t know what they say– probably some sort of ‘Rest in Peace’ thing.

I’m immediately amazed by this piece. It’s broken in half, which interests me, as I can’t really think of why it would be. That said, to me, it plainly seems like a sarcophagus shaped to look like a bed. Upon it lie two figures, sort of in a reclining position. I feel like there’s a bit of a twisted perspective to it, like maybe the anatomy’s a little bit off, with the way the feet/legs are angles as opposed to the torsos. My other idea, though, is that it could be representing their spirits rising out of their bodies, and maybe the sort of twisted perspective is very intentional in that regard.

The woman is wearing a little headdress over her long hair that seems to be in braids or twists of some kind. The man behind her has fairly long hair as well, alongside a very solid beard, and his arm drapes across her back, his hand on her shoulder. It’s kind of interesting, because she seems to be almost entirely dressed, though I can’t tell if she has a top on, or just a shawl, and he has no shoes or shirt, and possibly no bottom.

They definitely seem to be wealthy– maybe some kind of aristocrats– which I gather from the frilly pillows and nice bed frame alongside the beautiful shawl. Despite being a sarcophagus, it doesn’t really seem big enough to hold a body, so maybe it’s just for ashes, or I’m wrong and it’s something else entirely. I can’t quite tell the scale, though, so it could just be really huge (perhaps meant to hold a family, or two partners, or a person and their valuables). It’s also interesting and lovely that such a sweet scene is being associated with death in this piece, which reminds me personally of Mexican traditions of remembrance and love for the dead– much livelier and less tragic.

I’m curious about the context of them reclining in bed like this. Both seem to be smiling and gesturing, and his arms relax around/near her. I wonder if maybe they’re having some sort of animated discussion, or maybe just preparing themselves for bed– removing parts of their clothing, whether it’s for sleep or for sex or something else. I think a shawl is draped not quite over her shoulders, but around her arms, which sort of adds to that image for me.

It’s interesting because she isn’t holding anything, which makes me think she’s lost whatever she was originally holding. By the way her hands are set, I imagine it was some sort of bottle, though I’m not sure of what.

Either way, I really love the really intimate scene that’s being painted. The two feel very in love to me, especially in the way he’s holding her, and the soft expressions on their faces as they lie together. I can feel the good time they’re having, even though I have no idea what the context is.

Looking at this image, I’m immediately struck by a few things. One is that the scroll-like layout reminds me of what we’ve learned of the concept of creating a Book of the Dead, and so I wonder if this is a part/scene in someone’s. This is also supported, in my eyes, by the fact that the figure is guided by Anubis, the God of the Dead, and meets Horus, the god of protection among other things.

The main scene seemingly depicts one of the judgment trials within Egyptian mythology, where a heart is weighed against a feather, and if it is heavier, then the alligator-dog creature (whose name I can’t remember) eats it and your soul does not progress.

I personally can’t say I find this scene very emotional, evocative, inspiring, etc, as it feels like a very straightforward depiction of a story. It is definitely more positive, as nothing bad is happening to the person, which makes sense, as a Book of the Dead is meant to portray your hopes of the afterlife– sort of manifesting reality. I am intrigued by two of the scenes within it though, the stories of which I’m less familiar with. I imagine that they are also judgment trials of some sort.

I like that Anubis has taken the person’s hand as he’s guiding them, though. It’s a nice detail that I do feel inspires some amount of emotion, and I like the depiction of him as a sort of supportive, comforting figure throughout these trials. He doesn’t harbor any ill-will, just is doing his job in guiding you through the necessary trials.

Horus, to me, feels a little more to the point. He doesn’t seem to have as much of a comforting aura– maybe a bit more demanding and to the point, though he does also hold the ankh in one hand as Anubis did. He seems to be guiding him to the green-skinned figure in the right panel who’s wearing a pharaoh's crown (seems to be a depiction of Osiris), but I don’t exactly understand what they’re doing or what the situation is generally. There are women behind him trying to get his attention, maybe, and Horus is flying above him (now depicted as a full falcon). He’s the god of resurrection, and so I imagine that some other aspect of the soul’s trial or general process of achieving rebirth/eternal life.

The scene along the top makes me wonder if it’s sort of the last aspect of the soul’s journey after death, or maybe some sort of remembrance of his life on Earth– paying his respects to the different Gods. It’s kind of interesting that some in the front of ankhs, though, and some in the back do not.

Two main figures, one man and one woman, sit across from each other on cushioned chairs, with what looks like cushions under their feet as well, and both hold smaller beings on their laps, and one crawls across the woman’s shoulder. I assume the smaller ones are children because of the way they’re interacting with the bigger parents (I’ll explore that later), but also wonder if they could be humans because of their weirdly adult-like proportions, with the bigger figures being the Gods.

One is holding the small figure up to his mouth, I think kissing it or showing it affection, but the face also doesn’t look that affectionate, so I’m not sure if it’s something else. On the woman’s lap, the small figure points at the other two while looking up at her, seemingly trying to show them what’s going on, and the one on her shoulder is pushing her head to look at the others, too.

I’m curious as to what the story is, and am somewhat reminded of how Cronus ate his children, who turned out to be the Gods, in Greek mythology, though I can clearly tell that this is an Egyptian piece, and not a Greek one. I get a feeling that it's not about that at all, but it just reminded me of it.

On a separate note, a sun in the middle-top shines down upon all figures present with little ankhs at the edge of their rays, making me think that maybe the figures are important, having eternal life bestowed upon them. That idea definitely feels supported by the fact that the man is sitting up straight and seems to have a fairly big headdress/crown and the woman is wearing a small headdress and slouching forward. It’s interesting, though, that their bodies don’t seem to be ‘ideal’.

Also, I’m intrigued by the fact that the woman and man are both painted the same size, insinuating that they’re ruling together. That said, there is clearly a power differential between the small and big beings. The fact that it’s in stone always gives a sense that it was truly meant to be permanent, and because of the implication that the big figures are pharaohs, I wonder if it’s dedicated to their children/inheritors to the crown, sort of trying to announce their futures.

There’s a lot of text (hieroglyphics?) surrounding the image, though I obviously can’t tell what it says, and I wonder, again, what story it’s exactly trying to tell (could also be a recreation of a myth of some kind, through art & engraving).

Along the right side of the image, there seems to be a staff or column of some sort that has what could be a sort of bird figure on the top (Horus?), but I can’t tell, as it also looks sort of just like a handle of a cane/staff.

An Egyptian pharaoh kneels, both their hands holding two little spheres– maybe little vases or vessels of some kind? They’re kneeling upon a big stone piece of some kind, which I don’t imagine has much significance. It’s possible that there was some inscription on it at some time, which has now faded away.

There’s something around their waist that looks raised, like maybe it’s a belt of some kind, but I can’t tell. It’s been worn down very thoroughly– maybe through specific handling, but likely just through time. It’s hard to distinguish a lot of features from one another, the nose, eyes, and lips being very simple, and the ears, fingers, and feet standing out the most. There’s definitely some patterning in the headdress and beard, but it’s definitely light and faded. The piece has a lot of cracks as well.

I definitely feel a lot of balance in this piece, though, with a very strong sense of symmetry.

I’m intrigued by how humble they look, relaxed in a posture that seems to be praying or offering themselves to something– I imagine the Gods or a specific God. Especially with the little pots, it makes sense that they’d be praying/offering something, and I feel like this piece would have been used in a ceremony of some kind, and was likely made as a dedication to another God (sort of like the Palette of King Narmer, though that one was just decorative). It’s stone, too, which suggests the hope of permanence, and adds to that idea.

It makes sense to me as a piece– trying to show that even the pharaoh is not above the Gods, and that all should offer themselves.

He seems peaceful, somehow, staring out at the world with a small smile and full eyes. I think his high cheekbones definitely add to that sense of peacefulness, joy, and even confidence in his eyes. His shoulders are relaxed, as is his core– leaning gently forward, though not slouching– and the crossed legs make me think that he might be resting or meditating, or even just working on something small in his hands.

In one hand, he’s holding some sort of writing utensil, with some sort of paper or stone slate of some kind in his lap (unless what’s in his hand is just rolled up paper). The other hand has his thumb pinched to his pointer finger, but I can’t tell if he’s holding something between them or not.

Mixed with the fact that he’s looking upward, as if he’s looking for guidance from some other being, which I think reaffirms the idea, I wonder if he’s some sort of scholar, scribe, priest, etc. It’s interesting, though, because he’s not depicted as a sort of ideal man– he has rolls and is a little slouched and only wears a skirt, making me think he’s not particularly powerful or viewed as very grand.

Also, the darkness around his eyes makes me think of kohl, so I wonder if he’s meant to be North African or West Asian.

He’s a very life-like character, in general, which sort of feeds into the idea that Egyptians view statues as sort of alive in their way (their word for a statue even meaning ‘living image’). It’s interesting to see the scribe be portrayed working, which I don’t feel is a commonly depicted job.

This piece is composed of two same-shaped stone pieces, almost flask-like with triangular bodies and a flat-ish top. To me, the piece’s distinct style is clearly Egyptian. Both depict their own scenes with several layers each, which reminds me of descriptions of the world and its afterlife in layers– maybe one with the living, one with the dead, one with the Gods, etc.

On the left piece, there’s one main layer with a smaller one below– the main one picturing a man (maybe a King or a God) seemingly getting ready to either bless or maybe strike (the second feels more likely) another man who kneels beside him, held by the hair. A bird (associated with Horus, who’s associated with kings) stands beside them, and a little man on what looks like a shelf on the other side. Below the floor under them is what looks like two nude people running from something, maybe defeated/humiliated in some way.

On the right piece, the piece is split into three somewhat equal layers. The middle one holds what looks like two lion-type creatures (serpopards) with incredibly long necks intertwining with one another, and a man atop each one who seems to have them lassoed/on reins of some kind, like they’re trying to hold them back. In the top one, I’m honestly not too sure what’s going on. There are an incredible amount of figures doing different things– some looking almost like children. One is wearing the crown of upper and lower Egypt, which is interesting to me. The figures along the right are laid on their sides, missing heads, so it’s definitely a violent scene. In the bottom layer, there’s a bull stomping on the arm of the man, and knowing that bulls tend to be associated with pharaohs, it feels like another display of dominance of leadership.

One similarity between the two pieces is the two little creatures atop both that look sort of like bulls or rams with human faces, and some sort of seal between them.

I’m honestly not too sure what’s going on in the piece, but I’m intrigued. There’s a lot of movement in both that reminds me of a sort of mythical scene. Maybe the pieces are meant to be a part of storytelling of some kind. I think the lack of a focus in the pieces makes it hard for me to really get a sense for what’s going on, especially without any other knowledge outside of just what I can see, and I could definitely imagine someone sort of leading you through the images to tell a story.

That said, I do definitely feel like that idea of different layers of the world keeps coming back to me. As an example, I can see that in some layers on each, there’s a bit of a theme of suffering, which makes me wonder if it’s trying to represent the different parts of humanity or something of the like.

I imagine that its use is related to something more decorative– maybe made for nobility of some kind? The piece, to me, is very striking. It feels very powerful and intense, with lots of scenes of intimidation and humiliation. I imagine that this is meant to be intimidating and intense– something to legitimize power. Since it has the falcon which is associated with Horus, I do imagine it’s sort of dedicating itself to the idea of a tie between the pharaoh and Horus.

I’m noticing a pattern in myself of loving flowing movement and smooth curves in art, and in this piece I'm drawn immediately to look at the wide hips that branch from such a thin waist and torso, along with the way the legs look almost like little stacked blobs. It makes me wonder if they could’ve been wearing some kind of wide pantaloon the details of which were erased with time? I especially wonder so because the piece seems to have two different colors– one dark and faded, and one a bit brighter and more detailed.

It’s interesting to me that the figure doesn’t have arms, but it almost seems like they do have little fingers. It reminds me of ‘nubs’ that people sometimes have if their arms/hands don’t fully form. It could also be a sleeve of some kind, but we can clearly see the figure’s breasts and nipples, which makes me think not. An armband?

Of course, the being has two faces, which is definitely an interesting component. I’m reminded of a lot of different deities with several faces like the two-faced Roman Janus– god of doorways, crossroads, new beginnings, etc. and even Hindu Brahma– known as the Creator, whose four heads represent the four Vedas and are pointed to the four cardinal directions.

It makes me think of them also as a deity, and combined with the sort of mischievous look it has (a little grin and eyes that could just be a depiction of monolid eyes, but even then look like they’re almost squinted in excitement), I wonder if they’re some kind of deity. Maybe a trickster God of some sort? It especially makes sense with the idea of two-facedness being a symbol for liars, manipulators, etc. It could also just be representing duality in some regard?

Also, it looks like they have eyeballs or spouts or something circular in their mouth? I don’t know quite what’s going on with that, but I’m curious about the idea of them as being watchful and sort of a counterpart to the playfulness/trickster energy.

I’m curious as to what’s going on with the incredibly textured hat/hair/headdress? It almost looks like snakes or fruit or even udders of some kind, but I could also see it being some sort of string of beads.

I could also think of the piece as a talisman of some kind, but if it is a trickster, I’m not sure why it would be carried with you. The big hips could suggest fertility as well. In that case, the two faces could represent a community with childbirth and raising a family? Or, if we blend the two ideas (fertility and mischievousness), they could be a sort of representation of lust.

I’m intrigued from the first moment by the flowing movement of the figure’s body as they run– the way their joints are soft and rounded– but how the limbs are cut into sort of rectangular joints at the same time. The image feels very geometric.

I almost feel like there are two versions of the figure– one made from their solid body, dark and tangible, and the other from the white dots (scarification?) and lines that surround their head and body, whether it’s clothes or just an essence of their self. In fact, I feel like the entire image is sort of grappling with these two layers– one of the dark and one of the light, sometimes overlapping, and sometimes shown starkly against each other (as in the way the white outlines some darker bodies, or in the figure in the bottom right corner).

The figure has what seems like horns, which interests me and makes me wonder if they’re some kind of deity or mythological figure, famous or not– and also because of the scale between them and the other beings. I also wonder if maybe the horns are a weapon through their head, instead?

I’m also curious as to what they’re holding. At first, it looks to me almost like some sort of string or whip or something, but then I realize that there aren’t clearly defined hands, and I wonder if maybe it’s part of the cuffs/gloves/something else around their hands. Also– the band around their upper arm feels like flowing water. Why are there dots around their head, or the little patch of what looks almost like grass atop all the dots? Or maybe it’s a cloud with rain? Is it a headdress or halo?

Smaller figures surrounding our main focus draw my attention me mainly because it’s hard to tell where exactly in space they are, but I love at the same time how they seem to be moving around our main figure– holding up the cloth over their pelvis, and maybe hunting or fighting or dancing (I can’t quite tell). It almost looks like they’re holding the white strings coming from their wrists, too. I wonder why exactly they might not have heads, which leads me back to that idea of hunting or even war? I wonder if this art is trying to tell the story of some event (or myth).

There are three figures around the image that are particularly unique– one I can’t place on the left side, that looks to me almost like a little straw creature or man, one in the bottom right that I truly can’t place, but looks almost like different rocks or a little cutesy bear head, and the more defined figure between the main figure’s legs– someone with their breasts elongated and pulled forward and a straw skirt on, underneath an arch that looks almost like a rainbow. I’m curious to know more. They have the same dot patterning on the body as the main figure– scarification.

I don’t know quite what to say about the piece. Our main figure feels almost frantic to me– reminding me of an archetype I feel I know through different films and stories of a great, kind creature that cannot be saved, and ends up left behind somehow (I still love you, brachiosaurus in Jurassic World), yearning for more. Maybe that’s influenced by the great horns on their head, and the soft rolling shoulders. They feel too soft for the situation, somehow– like their body and mind are too gentle and warm for it– and as they run, swaying, their arms flailing, they feel hopeless and frantic and desperate and sad. Maybe they’re a God running with their people, sad for their loss and what they couldn’t help. I’m not sure. That’s just the energy I get.