The following works of art all depict the human body: Woman of Willendorf (Paleolithic, 28,000-25,000 BC), Pharaoh Menkaure and Queen Khamerernebty (Egypt, 2490 - 2472 BC) and the dying warriors of the eastern and western pediments of the Temple of Aphaia (Archaic to Classical Greece, 480 and 490 BC, respectfully). The broad ideas that these figures can be associated with, paired with their smaller-level details, together demonstrate how cultural ideals regarding body image change and develop over time. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Willendorf Woman, sometimes called the “Naked Woman,” is one of the oldest works of art found. It is eleven centimeters tall and made of limestone. We know very little about her and can't draw much conclusions (although we have "assigned" meaning to her to fill these holes). A few other figurines from the last Ice Age have been discovered, also depicting women, highlighting curvature and breasts. The Willendorf woman has been associated with fertility, given the name Venus, who is the goddess of love and fertility. The figure does not have any facial details. However, we have extremely exaggerated breasts and stomach and the detail of the vulva. This could certainly lead us to think that the symbol here is fertility. What does this indicate? Perhaps large women were more fertile and had the idealized size. Perhaps a woman's main purpose was only fertility. Perhaps older women were considered healthy. We don't have much to start with, but this is where we can more or less consider the history of human sculpture to begin. The Egyptian statue of Pharaoh Menkaure and Queen Khamerernebty provides us with a representation of a high-figured male and female during the time of the pyramids. Menkaure and his queen stand side by side, made of sandstone, emerging forward with both left feet pointing outward (most female figures would not do this, indicating that Queen Khamerernebty may in fact be the queen -mother of Menkaure). the almost stoic faces give a sense of "other world": they are in movement, they enter eternity and we observe them in all their beauty. Menkaure has a very detailed face that looks unique. He has smooth skin, without blemishes and a robust structure: he is the very picture of youth. He wears a traditional pharaoh's headdress, his royal beard in place and holds ceremonial robes - he is the normal stature of a pharaoh and this work of art celebrates this. His queen is beautifully built. She has a mature body with breasts shown through her tight clothing and, once again, a detailed and unique face. These figures are beautiful and we look at them in awe, but they are not exactly idealized like typical real works of art. They are individuals, placed in these roles. We can compare this Egyptian art to the artworks of previous periods: we have developed ideals, artistic styles based on the literal tendencies of the Egyptian culture and, furthermore, different meanings and purposes of the artworks: this sculpture would function as a piece to ensure rebirth for the king during the afterlife. The Dying Warriors of the eastern and western pediments of the Temple of Aphaia provide us with a glimpse into the evolution of Greek sculpture in particular. In 490 BC the figure of the western pediment was created. It is only part of a lively pediment depicting a scene from the Trojan War. We see this fallen warrior; he was pierced in the chest. He's trying to get the weapon off his chest even though he'll probably die, all the while sporting his archaic common smile.