Art can be described as an imprint of a cultures history, highlighting its important historical moments, key leaders, and symbolic figures. Interactions between different cultures influence the art of each designated culture. The connection between the Egyptian funerary art, The Fowling Scene, and the Minoan Toreador Fresco is one instance of this interaction that underlines the influence of one culture on another, presenting some similarities and differences characteristics. There are many differences in the artists approaches to compositions and form mostly in the depiction of human figures. There are also certain aspects of the cultures that produced them that help explain those differences.
In modern times, this relationship can be found in the art of the Middle East, particularly the painting of the Sphinx. However, it does not extend to a modern art like the frescoes and hieroglyphics of Western Europe. All of the paintings of The Fowling Scene, among many others, are either from later periods or have been composed before the Renaissance. These depictions of Egyptian funerary life have been attributed to a later period and it is not clear which artists selected or the works included them. Although the Egyptian Fowling Scene was produced before the late 11th Century with a small number of contemporary versions, all of the original works of this work are known to the general public and, although it is possible that some were created only 1500 years before, some of the earliest works of The Fowling Scene were not included in the initial collection of works to be released this year.
The Fowling Scene was a large sculpture set in the form of a pedestal, built by a woman. It was a monumental sculpture, often with multiple columns. It had many intricate designs. The pedestal was situated and surrounded by a long line of earth or vegetation; a series of terraces flanked the main line of this sculpture which held the columns in place. It was part of a central building located on a hill. Both the statue of the pedestal and the statue in the central pyramid were carved from earth and covered in charcoal. The pyramid, which could be seen from afar, became a structure as it supported two columns at varying distances. In addition, there was a wooden bridge that extended around the central column. The top of the pedestal was set on a hill called Al-Wahla, which is close to the city of Zuni. It was the third pillar that was shown to the audience. It stood at the right of the central pillar and extended to the right. The central pillar was on the upper part of the central pyramid; the southern pillar on the left.
Since the mid to late 12th century, there have been numerous attempts to make a painting that is both complex and aesthetically pleasing, with a focus specifically on the detail found in the work. The earliest attempts were made by Pieter Weimann von Leibniz. In 1221 his composition of a double crescent moon was published in New York and in 1249 by D. S. Smith was based on several variations of this composition. Although Pieter Weimann was influenced by the paintings of the same period, this was in no way a tribute to the works of the early Christian painter; rather, it is a tribute to the influence the work has on contemporary art. Pieter Weimann’s most famous work is the Gospels of Gospels by Thomas
The Toreador Fresco has many different composition aspects that differ from the Egyptian Fowling Scene. The arrangements of objects and balance in the artwork differ in how the Fowling Scene is divided with animals and nature on one side. And on the other, there are what seem to be hieroglyphics in the background. Whereas, in the Minoan Toreador Fresco, the artworks is balanced out equally with two women on the side cheering with a man in the middle with a bull. The artist shows balance with its arrangement of objects in the artwork. In both artworks, they both show similarity in how they have little to no negative space. They both have the spaces covered with items to the point that there is barely any negative space.
The aspects of form in both artworks differ greatly from depiction of human figures to use of line or color. In the Fowling scene, the Egyptian artist showed a composite view with an open figure for the pharaoh. With their use of lines, the artwork is two-dimensional on surface with a ground line. The artists caught the artwork in a still image. Meaning the objects arent in movement and are stuck to one spot. On the other hand, the Minoans had no ground line in their artwork catching the objects in action making it seem like the objects are floating in mid-air. In the Toreador Fresco, human figures are more fluid in their movement and are wasp-waisted. In usage of colors, the Egyptians tend to use more vivid colors. The men and women are also the same color; whereas the Minoans use simpler and fewer colors having to differentiate men and women also by color. Men tend to be in a darker color since they are the ones working outside the house. And women are in light, pale color skin because they work and do chores inside the house. The Minoans artwork didnt show any hierarchical scale like the Egyptians did. The pharaohs are usually bigger than the other humans because he is higher on the scale than the others. And also notice how the pharaoh and all other objects in the artwork are stiff with static poses as to the depiction of movement. In the