The Statue of Gudea is calved seated and holding the temple plan. Gudea was the Lagash ruler who broke ground for many temples and instructed his figures to be placed in the temple to reflect different meanings to the people ( Frankfort, 1970) . Gudea's image holding a temple plan shows his priority was to strictly follow god's instructions to strictly build sanctified temples. The inscribed letters show his personal commitment to do god's will and motivation to achieve the project. Gudea believed that obedience to the gods would shower blessings to the city. His priorities were to keep the city safe since he wept away the soil on the site the temple was to be built to expose the bedrock after following the instructions. He built the temple on the bedrock as instructed by the gods. The Ziggurat of Ur is an architectural art that shows people's priority in worshipping their god, Nanna. The architectural design portrays the gods' strength and dynamic energy, and the people had to construct a temple to conduct ceremonial processions for the gods.
Egyptian art embraced style in their artwork to ensure their art's uniqueness in preserving their culture and beliefs. Most of the Egyptian art is related to the tombs because Egyptians believed that there was life after death, and they wanted the art work to accompany the deceased to eternity. The art portraying figures in Egyptian society focused on exalting the elite and leading figures in their society ( Devies et al., 2010) . For example, King Narmer's palette has two sides, one side has the king's symbol and his subjects to represent the ruler, and the other side is a combination of people, animals, and tools of work ( Devies et al., 2010) . The contradiction in one palette shows the two opposing gods, Osiris and Seth, and the king's role in balancing the two forces to bring order to the world.
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References
Devies, P. et al. (2010). Janson’s History of Art: Egyptian Art . Pearson.
Frankfort, H. (1970). The Art and Architecture of the Ancient Orient . (4 th Ed.). New Haven: Yale University Press, p. 98.
