Gold swivel ring with agate scaraboid – Gallery 171 of the Metropolitan Museum of Art New York
If we look at the Gold Swivel Ring with an agate scaraboid it is obvious that the art medium is gold and agate. The ancient jeweler clearly used the basic jewelry techniques, although his craftsmanship is impressive due to providing a product with exemplary aesthetics. However, the ring still has no recognizable subject matter. Nonetheless, the ring has a well-rounded form and the agate scaraboid is in the ovalo-rectangular form. In terms of content, this piece of jewelry despite seeming to be simple evidently proclaims that it belongs to a rich man, or rather a woman.
The ring is well balanced, and the agate does not attract too much attention. At first glance, it is fully symmetrical, except the agate scaraboid, which is slightly chipped around on the right. However, if we look closer, there are some animal figures chiseled on the agate. Nonetheless, the asymmetrical properties of the ring still demonstrate a feeling of equilibrium and allow for a good general perception of the swivel ring. The agate scaraboid does not dominate over the gold cuff, neither does the gold seem more prominent over the agate, despite the latter’s small size. The two elements are in total unity, adding to each other.
There is no point of talking about either positive or negative shape, as this art form does not have any specific adornment of images, neither does it use the granulation technique which was used to depict some images. However, there are some indiscernible animal forms chiseled on the agate. This well-rounded plain ring, which demonstrates good taste. It clearly stands out from other exhibits due to its perfectly round shape and well-sized thickness of the gold cuff. The oval rectangular shape of the agate also used to be perfect but was apparently damaged. This is clear from the rounded chip on the right-hand side. This means that the geometric of the ring was changed. However, the ring has a biomorphic shape of the sun, with the agate scaraboid adding that extra glint and shine one can see when looking at the sun in the sky.
In terms of value the swivel ring is shining gold, it is neither too light nor too dark. The agate was seemingly cleaned out to show the shine that it should. The whole ring is highlighted in the exhibition, thus no shadows, shade, and even shading are seen anywhere. The light allows for a better view of the ring’s smooth texture. Besides, it helps to see the ring’s colors. The present pigments are yellowish brown and bright gold. The value of gold in the ring is dominating, although the agate does attract attention due to an almost unnatural glow or reflection of the light directed onto it. Overall, the warm colors of the ring attract attention making one rivet one’s gaze on it.
The ring is well within one’s cone of vision enabling the visitor to fix his view on the various elements of the ring and focus on its presentation.
Terracotta vase in the form of a pomegranate – Gallery 151 of the Metropolitan Museum of Art New York
The medium of the vase on display in gallery 151 is terracotta. The craftsmanship is surprising as the vase is made in the form of a pomegranate, a shape quite unique for the Ancient Greek Attic period. The naturalism of the vase is evident as it is made in the form of the seeds of a pomegranate, which represents rebirth and eternal life. The aesthetic feeling is somewhat mixed, as it is clear that this piece of art is from the ancient period, nonetheless, it does not evoke any special feelings. The style of the artist is concealed in the use of repetitive geometric forms to adorn the vase and thus fill in the composition. The content of the vase in terms of the essential significance is hidden, and is not actually “felt”.
In terms of composition, the vase is balanced. It has continuous geometrical patterns adorning it creating a symmetrical shape. Although there are five “petals” on top of the vase’s neck, therefore a slight asymmetrical touch is also present. The whole plane of the vase is filled, thus in terms of positive shapes; the whole area is filled with non-representational geometric shapes. They are simply in the form of numerous geometrical patterns. They dominate the visual perception and attract the attention of the visitors. The repetitive patterns demonstrate a kind of rhythm, deliberately showing continuous all-round patterns, which nonetheless do add to the unity of the whole piece.
The lines on the vase are neither too thick, nor too thin. Each pattern has a strictly defined plane in which it “operates” and they are separated by a specific contour. Although the repetitive patterns might have been thought of as something bearing resemblance to calligraphy, they are simply used for decorative purposes.
As has been mentioned the shape of the vase is as a pomegranate. The vase has been used by the artist as a canvas or a plane, which he adorned with various geometrical and rectilinear patterns. What is surprising is that color and value of light in this art piece. Considering it from this perspective to a nonprofessional may seem “odorless”, lacking color. According to the specific terminology, the artist used neutralized color. The almost white, color of the terracotta adorned with charcoal black patterns do not exactly evoke significant interest or another form of emotion. The highlight is on the patterns and form of the vase. It cast a slightly elongated shadow as the light source is at some distance from the art piece. Nonetheless, it has a strictly defined decorative value, with specific boundaries of light and dark used by the artist.
Evidently, forbidden to touch, the art piece still emanates a sense of tactile rigidness, despite the smooth walls made of terracotta. The three-dimensional shape of the vase has been fully decorated. The two-dimensional plane is adorned with geometrical patterns, whereas the petals on the top of the vase neck create a three-dimensional sensation of an atmospheric (aerial) effect. The vase is not fully in the cone of vision.
