The earliest forms of visual expression were inseparable from communication. Not until thousands of years had passed from the time earliest-discovered renderings were created was verbal communication reasonably disjointed from pictorial with the development of the first written languages. This combination of statuettes clearly rests on the conceptual, emotional needs of the creator; their forms are reduced to severe simplification, similar to modern styles found in urban centers. A clear somber mood is projected in their poses and how their details are developed. They inspire prostration, contemplative reflectiveness and the sense of frailty and isolation that afflicts mankind across independent cultures. |
Both figures are built on forms with angular qualities. The female figure is complicated with rounded, curved planes and edges, emphasizing the unique qualities of the female form. These are both conceptual works of expression, based on the extreme simplification of their forms and details, and how effectively their activities and moods are communicated.
The only details are minor and applied to the heads to make them more relatable. By implying a state of mind so well, an indistinct reference to time is made. These qualities place most of the visual emphasis on the figures’ heads. They are laterally balanced when viewed straight-on, with the female figure displaying more dynamic energy. The male figure is completely static. The implication of their similar sizes is that both are of equal importance.
The actual intention of the creator, if she or he had one beyond occupying boredom, is unknown. So, depending on how the couple is arranged, their “meaning” changes. They were uncovered at a grave site, which tinges their content with moods of loss and uncertainty. These figures were created over five millennia ago, but the relatability of their expressions and poses has not lost any meaning.
Both figures are built on forms with angular qualities. The female figure is complicated with rounded, curved planes and edges, emphasizing the unique qualities of the female form. These are both conceptual works of expression, based on the extreme simplification of their forms and details, and how effectively their activities and moods are communicated.
The only details are minor and applied to the heads to make them more relatable. By implying a state of mind so well, an indistinct reference to time is made. These qualities place most of the visual emphasis on the figures’ heads. They are laterally balanced when viewed straight-on, with the female figure displaying more dynamic energy. The male figure is completely static. The implication of their similar sizes is that both are of equal importance.
The actual intention of the creator, if she or he had one beyond occupying boredom, is unknown. So, depending on how the couple is arranged, their “meaning” changes. They were uncovered at a grave site, which tinges their content with moods of loss and uncertainty. These figures were created over five millennia ago, but the relatability of their expressions and poses has not lost any meaning.
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