What is art? Art can serve many purposes: it could be used as propaganda, it could have a specific function, or it could simply be something beautiful to look at. For these reasons the true purpose and definition of art as established by the artists themselves is in the eye of the beholder. In the case of Cypriot art, when answering the question, what is art, the answers will vary from person to person, especially on which side of the green line you are asking the question. Due to Cyprus' location in the eastern Mediterranean and the events of 1974, the island has become a true “melting pot of civilizations and cradle of cultures”. Many may see art simply as something beautiful to look at, but for Cyprus art may be the key to ending the island's division. Suzanne Cotter discusses modern Cypriot art saying: Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay" while the work [of the artists] we saw did not therefore conform to anything one might dare identify as "Cypriot"... there was a shared concern for content that, more or less explicitly, expressed something of Cyprus' condition as a divided country with a tragically brutal history (the bloody annexation of the north of the country by Turkish troops in 1974). This is prevalent in the modern art of Cyprus, an island with a long history or turmoil and an unstable environment. Cyrus's modern art was influenced by ancient art, influenced by the events of 1974, and is the key to answering the question of who the true inhabitants of Cyprus are people of the island gives the current residents of the island hope for a future without the Green Line, and art can lead us to these answers. The Neolithic and Chalcolithic periods are the first periods in which human settlements were discovered. During these periods, “In addition to utensils and cooking utensils…Cypriots produced works of art, both in relation to religious rituals and simply for themselves.” Most stone sculptures of this period were made of andesite and later unfired clay. Of all the works of art of this period “The best known artistic production… is that of the small steatite [or soapstone] figures”. These figures have "elongated flat arms, long neck and legs separated by vertical groove... has a 'necklace' around the neck, with a pendant in the shape of a cruciform ideal." The "necklace" worn by the steatite figure, like those of other Chalcolithic necklaces, is used in tombs as a gift for the dead; which represents the idea of ​​an afterlife in Cypriot culture. The idea of ​​the afterlife is also used in Egyptian culture, which may lead to the idea that the first inhabitants of Cyprus were of Egyptian origin. Another art form that supports this suggestion is the depiction of fertility gods and goddesses in terracotta; similar to early Egyptian fertility gods and goddesses. When the Neolithic and Chalcolithic periods end, the Bronze Age begins. Karageorghis noted that, "The first phase [of the Bronze Age] is characterized by...polished red pottery...[mainly] vessels [which] were usually labeled as ritual vessels, but in all likelihood are the creations of a potter who wanted to produce extraordinary forms to amaze his customers. As in the Chalcolithic period, fertility also dominated the early Bronze Age passion for fertility icons. Another art form that dictates this period is that of scenes of daily life. These scenes of daily life depict human beings“who cultivate the land to produce food [which at that time] was in a very advanced cultural stage… such models… are also known from Egypt.” As the Bronze Age continued “numerous experimental ceramic styles were produced,” such as “white-painted pottery [and] all kinds of geometric patterns.” As Cypriot culture advances into the Late Bronze Age, the island's inhabitants are given more non-Cypriot art introduced. This is not unexpected, given the location and trade of Cyprus. Cypriot art acquired many influences thanks to works of art such as the “so-called Tell-el-Yahadiya [which was] imported from Egypt.” Another milestone acquired from other cultures is the writing related to the Linear A of Crete, known as the Cyro-Minoan script. Furthermore, advances in means such as the use of ivory to make pipes, plaques, mirror handles , etc.; were common in this period. In addition to Egyptian influences on Cyprus and vice versa, it is also important to recognize “the effect of Cypriot art on Greece itself. Although no Cypriot pottery has been found in the Attica region so far observed that a series of changes in its ceramic style occur between 1075 and 1050 BC, both in form and decoration... introduced into Attica by the Cypriots. The next advances in Cypriot culture occurred in the Iron Age. The Iron Age led to the creation of a style of geometric pottery called Cyro-Geometric. Most of the artifacts found in the tombs appear to be gifts, which is again similar to Egyptian culture. The Iron Age transformed into the Arachaic period with “the rise of the Assyrians as a new political power in the Near East.” Not long after “the Egyptians replaced the Assyrians in Near Eastern hegemony… [Cypriot] artists countered Egyptian influences by developing Greek artistic styles.” Similar bronze artworks found in Cyprus have also been found in Greece. Although Cypriot artists rebelled against Egyptian influences, votive offerings found in Cypriot sanctuaries resemble the same ideas as Egyptian votive offerings. Another deviation from Greek influences was the combination of human torsos with animal bodies; very similar to Egyptian ideals. Karageorghis states that “bronze statues are rare, but Cyprus has produced one of the most striking and well-known: a life-size representation of the emperor Septimius Severus. The artist decided to show him naked and athletic." This choice was influenced more by the Greeks and less by the Egyptians who traditionally show the dressed figures. The alternation between Greek and Egyptian influences continued throughout the 6th century BC and definitively ended when Cyprus came under the rule of the Romans. The Romans influenced many mosaics and gave way to later Cypriot influence; Christianity. Many temples, public buildings and cities were destroyed by two earthquakes in 332 and 342 AD. This gave way to the advent of Christianity and splendid basilicas. Through the seven thousand years of ancient Cypriot art there are many artefacts that could be used to discover who the true first inhabitants of Cyprus were. Among the many Egyptian and Greek influences one could deduce that Cyprus is actually a real “melting pot” given its location and excessive trade. The ancient art of Cyprus can not only help us establish who the first true inhabitants of the island were, but also reveals why the modern art of Cyprus is the way it is. Modern or contemporary Cypriot art however differs between the North and the South due to the event of 1974. What happened in 1974 to create this division in the country and a separation of the arts? Hostility, anger, resentment... the list of words to describe the feelings of Northern Cyprus and Southern Cyprus for each other is endless. The 15thJuly 1974, Nikos Sampson took power and, upon hearing the news, Turkey immediately took action, knowing Sampson's reputation for violence against Turkish Cypriots. Five days later, out of fear of the Turkish Cypriots, Turkish troops landed in the hope of holding northern Nicosia. The end result is the Green Line. Which divides the island of Cyprus in half, the North controlled by the Turkish Cypriots, the South controlled by the Greek Cypriots. The North is extremely disadvantaged, with very little running water or electricity and no economic system to support the population. On the contrary, the South is economically stable with a great tourist attraction. With no solution in sight, the two groups continue to live their daily lives with two different cultures, two different religions and even speaking two different languages. These differences are exemplified in the artwork of the two groups. There is no distinct form labeled "Cypriot" art. One reason could be that “there are no fine arts schools in Cyprus”. Most Cypriot artists travel aboard for formal artistic training. For Greek Cypriots living in the south there are many programs and groups that help the arts. For example, “the Artrageous group was formed by three Cypriot artists with the aim of creating a socio-political demonstration focused on the role of the artist as an agent of public awareness who experiments however within a contemporary artistic context”. The group is strongly influenced by the country's status stating: “What is common in the work of [Klitsa Antoniou, Panayiotis Michael and Melita Couta] is the way they balance the impact of their country's socio-cultural context with the weight of international contemporary art scene, how both influence them, and how these two influences are linked to their cultural identity. The work of these artists embodies cultural and political issues pertinent to their country of origin, which helps to identify characteristics in the artist's work that document a shared regional aesthetic and conceptual affinity. "The Artregrous group paves the way for other artists who seek to express their discontent with the status of Cyprus through their art. Another program that is opening doors for Cypriot artists is the ARTos Foundation which was “established to create a dynamic cultural presence in Cyprus and abroad by developing initiatives and participating in local, regional and international collaborations and programs in the fields of culture and, in particular, in those of arts and letters, modern creativity, research, science and 'environment”. What differences are there between Northern and Southern Cypriot art? The only Northern Cypriot artist to show his work at the “Coffee Break” conference was Unfortunately the only mention of him everywhere online is in Suzann Cotter's curator's diary Another useful website when looking for Northern Cypriot artists is the Turkish Cypriot Fine Arts Museum online. One artist discussed on the website is Gönen Atakol who was “born in Nicosia in 1945, graduated from Pennsylvania State University with a BFA (Bachelor of Fine Arts). He won the Edwin W. Zoller Academic and Artistic Award in 1971. He continued his artistic work in the United States from 1971 to 1985 and opened exhibitions in North America, Turkey, Europe and Northern Cyprus. His major works were displayed in 1985 at an exhibition in Nicosia. Although there are not many programs or groups that support the art of Northern Cypriots, Northern Cypriot artists have paved their own way and have succeeded on many levels. In contrast to Southern Cypriot art, Northern Cypriot art is less controversial and less political. In a certain sense it could.