Art

The Stele of Naram-Sin and the Stele of Hammurabi

Generally, the two steles are representative of the imperial art of the Mesopotamian civilization. Much like most steles, these two slabs showcase major events or circumstances from their specific eras the Stele of Naram-Sin showing the victory of King Naram-Sin of the Akkadian Dynasty over the mountain people, Lullubi, while the Stele of Hammurabi illustrates the bestowment of judicial power of King Hammurabi of Babylon by the god Shamash. Both also follow a specific style that deviates from earlier stele traditions wherein a main focus is established. But the similarities end there. The steles are made from different materials the first, from pink limestone, and the other, from dark, gray basalt. As for their function, we know that the Stele of Hammurabi contains one of the oldest legal documentation in antiquity, The Hammurabi Code, which details the judicial process of the Mesopotamian Empire. It serves as a form of legal compendium while the the Stele of Naram-Sin on the other hand, serves merely as a celebratory emblem of Naram-Sins victory, showcasing his power as king. In this light, Naram-Sin is shown in the middle of the sculpture, considered a god with the success of his victory. The Stele of Hammurabi, though, shows the King receiving his investiture from the god Shamash, illustrating the role of the King as emissary to the gods instead of a god-like king.

Hagia Sofia, Istanbul and Mosque of Sultan Selim, Edirne

Though historically, the Hagi Sofia came in earlier and as a testament to Roman Catholic faither, whereas the Mosque of Sultan Selim served as a Muslim place of religion all throughout the course of its history, there can be no denying the similarities of the two architectural marvels. Both follow a classical Byzantine style that incorporates the formation of a dome-shaped main hall and the use of spires (four in each). There is a prominent use of arches in the interior for structural support as well as architectural design. What differs between the two are the distinct use of wall treatments. The walls of the Hagia Sofia are famously filled with mosaics detailing early Christian beliefs. Done in bright colors and adorned with gold leaf, these mosaics pertain to the iconography that is prevalent during the Byzantine period. On the other hand, focus was placed on the architectural quality of the mosque, with the interior walls of the Mosque painted only in red to showcase the distinct architectural forms.

Kandariya Mahadeva Temple and Rajarajeshvara Temple

Both temples are characteristic of the medieval style of temple-making from the 11th century India, though harkening from two different sub-genres with the Rajarajeshvara Temple inspired by the Dravida style of South India. These two temples were also constructed in dedication to the god Shiva. It also employs the use of the towers or shikharas that tower over the ground. Though both are intricate in design, their styles differ vastly with the Kandariya Mahadeva Temple employing a smoother surface that seems to cascade down from the towers. The Rajarashevara Temple, on the other hand, is more angular in terms of the surface design, but, more or less, the two temples arise from the same architectural genre.

Page with Jahangir in Darbar and Hour of Cowdust

The two paintings are reminiscent of the Mughal style, despite the second painting coming from a latter period. Like paintings of this style, the figures are tightly woven together around a definite focal point. But between the two, the Jahangir painting employs a more distinctly vivid coloring, whereas the Hour of Cowdust has a more delicate color palette. Again, the subject of the painting completely differs, with the first painting focusing on the court achievements of its painter, Jahangir. On the other hand, the second painting draws metaphor and allegory from Indian spiritual culture as it shows the god Krishna herding cows into the village using his magic flute, despite being inspired by European naturalism. The differences show the two dominating aspects of Indian life the courtly travails of the elite class, and the spiritually-inspired dealings of the lower class.