'Descriptive Art History Essay\r'

'Jade Richards-Butler Professor Jonathon Farris ARTH ascorbic acid Descriptive Essay This work resembles a four-legged wolf wearing a masquerade party with merciful features. It is a mold in the round created using an bilinear method. The smooth, highly polished texture and reddish colouring material of the sculpture give the impression that the material is ceramic. The sculpture’s head displays both human and carnal(prenominal) qualities. The ears argon positioned symmetrically, slightly off center of the head.They atomic number 18 of a triangular fig and stand kick upstairs in a pointed manner resembling ears similar to those of near dog breeds. They ar slightly concave and appear frontwards. Around the face there is a increase layer of the material creating the illusion that a sham has been superimposed onto the sculpture. The â€Å"mask” is a slightly different colour than the head and covers what would be the sculpture’s face. Right in the center of the â€Å"mask” are human features. The eyebrows are slightly raised and hapless set, sitting unusually close to the eyes.The eyes come erupt slightly from their sockets. They are almond shaped with incisions outlining the eyeballs. The poll of the search begins between the two eyes, lengthwise it occupies somewhat a third of the â€Å"mask”. It is highly project with a sharply defined bridge. Under the nose there are two raised areas denoting lips. in that location is an indentation representing the space in between the lips, which is curve slightly upwards suggesting a smile. The ears sit half(a) panache obliterate the â€Å"mask”, they are comparative to the mask features with slightly exaggerated ear lobes. there is a hole in the right lobe that appears to be an delicious choice rather than a preservation problem. The inner(a) edges of the hole seem scratched, perhaps there was previously an item sitting in the hole. The front legs are short in comparison to the suspension of the body. in that location is an outward bend half way down to each one leg. The base of the legs taper off slightly, resembling paws. There are three equally distributed indentations on each paw, the indentations span from the where the legs begin to taper to the tip of the paws.These indentations delimitate toes on the paws. The patronage is not in counterbalance with the rest of the body as it is quite big and sits slightly off the ground. It is a bulbous shape and suggests that the dog is overweight. This could be a signal of the domestication of this particular breed of dog. The breed was probably domestic to the area of the artwork and consequently domesticated, serving as companions to humans. The rotundness may suggest that they were pampered, idolized animals. Unlike the two front legs, the two prat legs are solely straight.They do not have bends or indentations to resemble paws, instead they slightly flare out toward s the bottom. The base also does not resemble the coffin nail of any known animal. In proportion to the rest of the statue the tail is extremely wide. It is rounded and appears hollowed out. It appears to be diagonally sliced downwards, the highest point being at the back of the tail. This suggests the sculpture could have a dual occasion as an ornament and a storage vessel. The tail could be an opening to a hollowed out stomach that would provide an appropriate storage facility for cereal grass or liquid.The sculpture’s purpose of population could be symbolic of shamanism. The mixed representations of human and animal features are possibly the artist’s way of exploring the relationship between these life forms. The human mask could be demonstrating the shamanist practices in which animal inspirit work in harmony with a human host through ritualistic trance states. In summary it could be concluded that the artwork could be used both for decorative purposes and fo r a deeper uncanny use within the rituals of its social setting.\r\n'