Comparison of the Depiction of the Human Body in Art

With their simple, nude, idealized sculptural forms, and stances devoid of contrapposto, the Male and Female Figures from Baule, Cote d’Ivoire (see left) and the Greek Kouros (see lower) appear similar at first glance; upon closer inspection, however, the statues depict the human body and ideal forms in different manners. For example, both statues depict idealized human forms, but the respective societies upheld different characteristics as ideal. The sculptor of the Baule figures exaggerated the lengths of the figures’ necks and enlarged the size of their heads and calf muscles, bestowing them with ideal qualities in Baule culture. Similarly, the Kouros boasts a triangular shaped head and hair, a flat face, a slim waste, and appealed to the love of pattern that dominated the Daedalic style of the time. In addition to their stylistic characteristics, however, the Baule figures include naturalistic aspects of human anatomy while the Kouros attempt at anatomically correct muscular is rendered inaccurately.

Comparison of Sacred Spaces

Although they were built for different purposes, out of different materials, in different countries, and by different peoples, both the Togu na in Dogon, Mali (see bottom) and the synagogue at Dura-Europos (see top) serve as sacred spaces with surprising similarities. The Togu na, also referred to as the “Men’s House of Words,” serves as the meeting place for the men of the Dogon society to make decisions concerning the welfare its citizens, and is considered the most important part of the community. Dogon houses like Togu na are built over long spans of time, and, consequently, walls of the house are formed by a combination of old and new wooden posts adorned with artwork. The newer posts are more detailed, brighter, and boast some writing, but all of the posts show narrative scenes of subjects ranging from legendary female ancestors depicted in stylized forms to horsemen, hunters, or women preparing food. Similarly, the synagogue at Dura-Europos served as a sacred space in its community and exhibits walls adorned with narrative art. The murals that cover the walls depict Old and New Testament content and narrative scenes that are devoid of action but that tell stories through stylizedgestures like those found on the wooden posts of the Togu na.

Comparison of the Depiction of Women in Art

Both the Portrait Bust of a Flavian Woman from the Early Roman Empire (see left) and the Female Mask from Mende, Sierra Leone (see right) portray the ideal form of a woman, but do so in opposing manners. The Flavian bust was carved from marble circa 90 CE, and used contemporary fashion to depict idealized beauty without concern for conveying Roman Republican virtues as earlier statues did. The African Female Mask, too, is a portrayal of idealizedfemale beauty, but also expresses the virtues of the Mende woman’s role in society as a wife, mother, and provider. In an overt example of the way in which the definition of beauty varies from time period to time period and from culture to culture, the Flavian Woman exhibits an elegant and delicate neck while the African mask boasts a large, rolling neck—both of which were considered marks ofbeauty by their respective societies.