Bust of Nefertiti - Alara Eksioglu Object Annotation 1

The bust's symmetrical and idealized features, such as its perfectly shaped lips, sharp cheekbones, and serene expression, activates certain visual responses, a subject Starr discusses as crucial in forming emotional and aesthetic connections. Starr states that “aesthetic experience starts with sensations or imagery, which we analyze perceptually and semantically and which engage processes of memory as well as of emotion; these sensations and images also have evolving reward value” (pg 24). Such sustained aesthetic appreciation might occur due to the bust's lifelike realism, which is also enhanced by the use of vibrant colors.

Starr notes that “intensely felt imagery…is one of the links that unites both the arts and our most intense experience of them” (pg 25). In relation to this work of art, the unfinished eye can be seen as inviting curiosity and cognitive engagement, aligning with Starr’s idea that aesthetic objects can provoke complex cognitive responses and deep reflection. This detail raises the question of why it was left incomplete, encouraging viewers to reflect on elements such as the artist's intentions or historical context. Therefore, as Starr explains, such cognitive engagement furthers the scope of the aesthetic experience as it leads to contemplation and interpretive thinking, which helps the object evoke intellectual and emotional exploration.

In "Feeling Beauty," Starr discusses how aesthetic objects can produce universal responses, explaining that “Aesthetic experience juxtaposes what we know and feel…with what was previously valueless or incommensurable, and our experience of aesthetic pleasures gives perceptible, hedonic weight to thoughts and perceptions” (pg 21). This work's portrayal of idealized beauty, combined with a strong sense of individuality, appeals to diverse audiences across time and cultures, exemplifying how universal aesthetic experiences transcend individual and cultural differences. The bust’s balance, harmony, and lifelike qualities reflect the kind of universal elements of beauty that Starr suggests trigger similar perceptual and emotional responses despite viewers' different backgrounds. This aligns with Starr’s argument that certain objects can facilitate shared aesthetic experiences due to inherent aesthetic qualities that resonate universally.

The "Bust of Nefertiti" is a life-size painted bust of the Egyptian Queen Nefertiti, currently on display in the Egyptian Museum of Berlin. This piece of art was made by Thutmose around 1340 BC.

Shusterman argues that perception and the body are heavily interrelated, seen as he states that "somaesthetics highlights and explores the soma - the living, sentient, purposive body - as the indispensable medium for all perception" (pg 3). His ideas can be assessed through the "Bust of Nefertiti," as the bust requires viewers to engage their bodies by changing their position and adjusting their gaze to fully appreciate all of the details, essentially drawing viewers into somatic engagement that influences their perception of the work of art.

Starr's assertion that “aesthetic experience helps us understand a world we cannot fully predict, helps us value things that are new, and learn how to compare what seems, at first, incommensurable” (pg 26) is clearly reflected in the "Bust of Nefertiti." The bust not only symbolizes ideals of beauty and power, but it also encapsulates the cultural and religious shifts of Ancient Egypt, as Nefertiti was the royal wife of Pharaoh Akhenaten, an Egyptian pharaoh known for shifting away from polytheism to monotheism through the worshipping of the sun god, Aton. Also, the bust portrays the naturalism and individuality of the Amarna art style, which became prevalent during the shift to monotheism. Therefore, the bust is transformed from a simple aesthetic object into a profound symbol of historical and cultural significance. Through the bust's connection to political and religious shifts, viewers are able to appreciate and compare deeper layers of meaning, as suggested by Starr.

Alain Corbin focuses on how certain senses are prioritized over others in different cultures, explaining that this influences perception of the world and art (pg 131). In Ancient Egypt, the value placed on the sense of sight can be seen through the "Bust of Nefertiti," where ideals on beauty and power are symbolized through the bust's visual form. The "Bust of Nefertiti" reflects the dominance of the visual, as symmetry, proportion, and aesthetic perfection have been used to convey cultural ideals of beauty, femininity, and power.

According to Freedberg, the mere acknowledgment that images can provoke violence in certain situations highlights the differing degrees to which people can feel profound connections towards art (pg 11). This idea can be applied to the "Bust of Nefertiti", as its lifelike gaze and historical significance might evoke a spectrum of emotions or reactions, such as respect, curiosity, or even unease. Alongside portraying the bust's role as a work of art, Freedberg's arguments reflect the complex relationships people have with cultural icons, while also revealing the impact that the bust can have on personal and collective memory and identity.