ART 175 Exam Image List - Chapters 12 - 18 PDF

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Summary

Study Guide:

Chapter 12: Japanese Art before 1333
Chapter 13: Art of the Americas before 1300
Chapter 14: Early African Art
Chapter 15: Early Medieval Art in Europe
Chapter 16: Romanesque Art
Chapter 17: Gothic Art
Chapter 18: 14th Century Art in Euro...

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Chapter 12: Japanese Art before 1333 Asuka Period 552 - 645 CE

•12-6: Tori Busshi / Buddha Shaka and Attendant Bodhisattvas / Horyuji Kondo / c. 623 CE / Gilt bronze ● example of international style of early Buddhist art at Horyuji ● Shaka is the Japanese name for their historical Buddha ● Busshi means Buddhist image-maker ● The Shaka Triad shows the Northern Wei Dynasty’s Chinese art as a strong influence ● It’s obvious in this bronze casting that the artist had advanced technical skill

Heian Period 794 - 1185

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•12-10: Womb World Mandala / Toji, Kyoto / late 9th century CE ● integration of the two basic shapes, circle and square→ expression of divining by means of lines and fires and Buddhist cosmology ● used for teaching and meditation ● the monk starts from the center working outwards, believing by doing so they absorb some of each of the deities powers ● sometimes mantras are also recited during the making of a mandala ● an architectural and sculptural painting ● “represents an ultimate reality beyond the visible world (Text 371).”

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•12-12: Jocho / Amida Buddha/ Phoenix Hall, Byodoin / c. 1053 CE / Gold leaf and lacquer on wood ● created by the artist Jocho and his joined-block method, which uses several blocks of wood to create a sculpture ○ allows larger and lighter sculptures ● this sculpture shows the serenity and compassion of the Buddha ● smaller wooden bodhisattvas and angels surround this Buddha, some playing instruments

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•p. 374: Scene from the Tale of Genji / Tokugawa Art Museum, Nagoya / 12th century CE / Handscroll on paper ● mineral colors that crack and flake ● “line for an eye, hook for a nose”--> used for facial features ● seen from a bird’s-eye view ● followed the prince's life (paligamist society) --> symobls of pleasures and sadness ● Yamaot-e style painting (japanese) --> different to the chinese style -soft brush strokes -nature shown as divine -bright color palette

•12-15: Section of Night Attack on the Sanjo Palace / Museum of Fine Arts, Boston / late 13th century CE / Handscroll on paper ● made a century after the event of battle between the Minamoto and the Taira ● use of color, linework, and brushwork → birds-eye view like the tale of genji handscroll ● lateral composition ● action painting ● depicting the Minamoto rebels surprise attack on the Sanjo Palace in the middle of the night and abducted the emperor and burned the wooden palace

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•12-16: Kosho / Kuya Preaching / Rokuhara Mitsuji, Kyoto / before 1207 CE / Painted wood with inlaid eyes ● a monk who is famous for gathering the people of the country to join and sing to praise the Buddha Amida ●

Pure Land Buddhist followers during the Kamakura period and Kuya, the monk, was regarded as a founder of their religious tradition

● the artist Kosho carved six small buddhas coming from Kuya’s mouth to symbolize the six syllables of Na-mu-A-mi-da-Bu → embodied the Pure Land Chant ● iconic

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•12-17: Descent of Amida and the Twenty-Five Bodhisattvas / Chionin, Kyoto/ 13th century CE / Hanging scroll on silk ● raigo (meaning “welcoming approach”) was a popular painting style that depectied the Amida Buddha with bodhisattvas coming to earth and welcoming the soul of the person who was dying. ● depicting Amida Buddha and 25 bodhisattvas descending over mountains ● using the technique of cut-gold leaf called kirikane → originated in China but Japanese artists perfected it ● in lamps and torches raigo paintings looked “magical” ● the portrayal of the beautiful landscape as divine represents the Shinto beliefs, which began in the Kamakura period

Zen Buddhism ● introduced from china ● self enlightenment

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Chapter 13: Art of the Americas before 1300

Mesoamerica

•13-3: Colossal Head / San Lorenzo / c. 1200-900 BCE / Basalt ● these basalt statues range from 5 to 12 ft ● heads portray adult males wearing caps with chin straps and earspools (circle earrings) ● general look: almond shape eyes, flat broad nose, thick protruding lips, lips turning downward ● each statue represents an individual, so each one is different

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•13-7: Bloodletting Ritual / Cleveland Museum of Art / c. 550-650 CE / Fresco fragment ● wall painting in fresco technique with diff pigments put on the damp lime plaster; then the walls were polished for durable smoothness ● bright polychrome color schemes were usually used, as well as a restricted palette using tones of red ● this particular image depicts an elaborately dressed man “enriching and revitalizing the earth with his own blood (389)” ● wears a canine headdress with feathers from the quetzal bird→ indicating high status ● standing between bundles of grass with with spines and scattering drops of blood, symbolized as seeds and flowers ● the sound scroll from his mouth represents the chant→ showing this man to be a priest, and this a ritual ceremony

The Maya 8

•p. 394: Shield Jaguar and Lady Xok / British Museum, London / 725 CE / Limestone ● they are wearing special headdresses for the bloodletting ritual, similar to the priest shown in image 13-7

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● Lady Xok is depicted pulling a thorned rope through her tongue, showing her sacrifice to the gods→ this ritual was required for royalty, believing this was how to gain favor of the gods and continue ruling ● the inscriptions at the top and bottom indicate the date and the ritual, as well as identifying Lady Xok and Shield Jaguar

Chapter 14: Early African Art

The Lure of Ancient Africa

•14-1: Crowned Head of a Yoruba Ruler / Ife, Nigeria / 12th-15th century CE / Zinc brass

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● lost-wax process→ sculptural tradition of casting lifelike human heads ● sacrification patterns (decorative scarring) the lines that go through the face ● very realistic and delicate ● represents a female oni (king) → with a crown ● could’ve been attached to wooden figures and mannequins used at memorial services for the Yoruba people ● idealized representations of physical perfection/beauty and moral character

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•14-9: Hip Pendant Representing an Iyoba (“Queen Mother”) / Benin City, Nigeria / c. 1550 CE / Ivory, iron, and copper ● represents an Iyoba (Queen Mother→ the oba’s mother) ● this ivory carving is for a belt ornament and worn at the oba’s hip ● iron used as the pupils and patterns on the forehead ● this pendant may represent Idia, the mother of Esigie, remembered for creating an army and using magic to help her son win his battles

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● the necklace she wears show the heads of Portuguese soldiers→ the Portuguese also helped Esigie ● the crown shows more Portuguese heads and mudfish (symbolizing Olokun, the Lord of the Great Waters and how the oba is like these fish, between the human and supernatural→ semi-divine)

•14-10: Warrior Chief Flanked by Warriors and Attendants / Benin City, Nigeria / c. 1550-1650 CE / Brass ● shows a warrior chief wearing a necklace of leopard’s teeth and a cap and collar decorated in coral→ shows his rank ● he wears ceremonial clothing, with a leopard mask at his hip and holding a spear and eben sword (the eben sword was a leaf-shaped blade made of iron→ symbol of high

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rank in Benin City) ● the plaque is organized in hierarchical order with the warrior chief larger and centered; two warriors are at each side with shields and spears; the other two small figures are court attendants, one playing a side-blown horn announcing the warrior’s arrival and the other carries a ceremonial box for gifts to the oba ● This particular scene is a ceremony for the warrior chief declaring loyalty to the oba by raising the eben sword, spinning it to show authority

Chapter 15: Early Medieval Art in Europe

The Early Middle Ages

•p. xxx(A): Carpet Page from the Lindisfarne Gospels / Lindisfarne, England / c. 715-720 / Manuscript illumination ●

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•15-1: Chi Rho Iota Page from the Book of Kells / Probably made at Iona, Scotland / Late 8th or early 9th century / Manuscript illumination ● Christi Autem Generatio or XPI (Chi Rho Iota) ● the big letters showing the name of Christ ● other various intricate designs like cats and other creatures and figures ● theres a head attached to the iota symbol ● there are angels depicted as well

Mozarabic Art in Spain

•15-10: Maius / Woman Clothed with the Sun, The Morgan Beatus / Monastery of San Salvador at Tábara, León, Spain / 940-945 CE / Manuscript illumination ● based on the biblical text of Apocalypse ● seven-headed red dragon along the entire width of the page, threatening the “woman

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clothed with the sun, with the moon under her feet and on her head the crown of twelve stars” ● the artist, Maius, shows the allegory of the triumph of the Church over its enemies ○ uses forceful, abstract, ornamental style showing the “nightmarish” events of the biblical text ● the background is in horizontal strips of color and the figures are colorful with framing haloes

The Viking Era

•15-13: Royal Rune Stones / Jelling, Denmark / 983-985 CE / Granite ● vikings made large memorial stones with inscriptions called rune stones ● 8 feet high ● with an inscription “King Harald had this memorial made for Gorm his father and Thyra his mother: that Harald who won for himself all Denmark and Norway and made the Danes Christians.”

The Carolingian Empire

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•p. 450: Psalm 23 in the Utrecht Psalter / Utrecht University Library / c. 816-835 CE / Manuscript illumination ● depicting a church and a pasture with sheep, goats, and cattle ● the text of Psalm 23 begins with Dominus regit me (“The Lord ruleth me”) → latin translation for “The Lord is my shepherd” ● on the right is depicted a psalmist being supported by an angel with a rod and staff and anointing his head with oil ● to the right of the psalmist are enemies shooting arrows, but the psalmist focuses on the table and house of the Lord

Ottonian Europe

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•15-25 (p. 455): Doors of Bishop Bernward / Made for the abbey church of St. Michael, Hildesheim, Germany / 1015 CE / Bronze ● each door was cast in the lost-wax process and reworked with detail ● animated figures; the landscape is depicted in the lower relief to let figures stand out more → the heads modeled in 3D ● Top left 1: “Life in Paradise” → formation of Eve → Eve presented to Adam 2: “The Fall” → Temptation and Fall of Adam and Eve → Judgement of Adam and Eve 3: “Life in the World” → Expulsion of Adam and Eve from Paradise → Adam and Eve Laboring 4: “Eve’s children” → Offerings by Cain and Abel → Cain murders Abel

Top right 1: “Promise of Return to Paradise” → Noli me tangere → Three Marys at the Tomb

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2: “The Passion” → Crucifixion → Judgment of Jesus by Pilate 3: “Infancy of Jesus” → Presentation of Jesus in the Temple → Adoration of the Magi 4: “Mary’s Child” → Nativity → Annunciation

•15-27: Christ Washing the Feet of his Disciples, Gospels of Otto III / Bayerische Staatsbibliothek, Munich / c. 1000 CE / Manuscript illumination ● illustrated books made by ottonian monks and nuns ● made in German monastery→ Ottonian painting style ● use of sharp outlined drawing and fields of gold was inspired by Byzantine art ● scene of Jesus washing the feet of his disciples at the last supper; Peter is shown with one leg reluctantly over the basin while Jesus gestures the importance and significance of washing their feet; on the right is a disciple eager to be next, taking off his sandals ● style shows the Classical tradition transformed into a powerful and expressive narrative, which also leads into Romanesque art

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Chapter 16: Romanesque Art

•16-15: Tower of Babel / Saint-Savin-sur-Gartempe, Poitou, France / c. 1115 CE / Ceiling painting ● on the left shows God’s punishment of prideful people who tried to reach heaven by making their languages “mutually unintelligible” ● the painting shows a tower in romanesque style, with visualizing stories in a contemporary setting; workers carry stone blocks to the tower ● the “dynamic figure of God” steps away while still looking back to scold them→ romanesque style ● the way this painting was made represents how viewers would look up with a dim light at the wall ●

bold outlines, dramatic movement, broad color

● painters moistened the walls before they painted, which made them more permanent

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•16-20: Wiligelmo / Creation and Fall of Adam and Eve / Modena Cathedral, Italy / c. 1099 CE / Relief sculpture ● far left is God in a mandorla (body halo) being carried by angels, representing as Creator and Christ by a cruciform halo ● the narrative of creation is shown in three scenes: starting on the left God brings Adam to life, then he’s shown creating Eve from Adam’s rib, in the last scene they are shown covering their genitals in shame after eating the fruit from the forbidden tree where a serpent is depicted ● Wiligelmo give the figures a strong 3D effect; the figures have life and personality; the frame gives a stage-like setting ● Wiligelmo’s work influenced other sculptors throughout Italy and England

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•16-21: Tympanum showing Christ in Majesty / Saint-Pierre, Moissac, France / c. 1115 CE / Relief sculpture ● depicts the second coming with Christ flattened in the center, an iconic image, enclosed by a mandorla (cruciform halo rings his head) ● around him are the evangelists Matthew (man), Mark (lion), Luke (ox), and John (eagle) symbolized as winged creatures ● underneath Christ are rippling wave-like bands that are the three registers where 24 elders with gold crowns and either a harp, or gold bowl of incense try to see Christ’s arrival → 3D turning in different postures

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•16-30: Bishop Odo Blessing the Feast, The Bayeux Embroidery / Perhaps from Canterbury, England / c. 1066-1082 CE / Linen with wool embroidery ● servants are preparing the meal before battle ● the Bishop Odo in the center blesses the food and drink ● on the far right are bishop odo, william, and robert in a conference ● propoganda showing why william had to got to war with england

Chapter 17: Gothic Art

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•17-1: Detail of the Good Samaritan Window / Chartres Cathedral, France / c. 1200-1210 CE / Stained and painted glass ● depicted story of Adam and Eve

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•17-5: Royal Portal / Chartres Cathedral, France / c. 1145-1155 CE / Stone sculpture ● In the center is Christ and the apostols surround him in four groups of three on the lintel and the 24 elders of the apocolypse line the archivolts ● Christ's face is smiliar to the Romanesque art with the simplified face; his clothing is more stylized rather than showing what drapery actually looked like ● at the bottom are column figures

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•17-14: Annunciation and Visitation / Reims Cathedral, France / c. 1230-1250 / Stone sculpture ● shows two scenes ● on the left is the angel gabriel appears to Mary telling her of the coming of Christ ● on the right is Mary again pregnant with Jesus and next to her is her sister Elizabeth pregnant with John the Baptist

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•17-35: Nicola Pisano / Annunciation, Nativity, and Adoration of the Shepherds / Baptistery, Pisa, Italy / 1260 CE / Marble ● the virgin mary is shown in the middle laying down after giving birth to Jesus; below baby Jesus is being given a bath ● in the upper left corner is the Annunciation--when Christ’s conception is announced by the archangel Gabriel ● in the upper right corner is the Annunciation to the shepherds ● classical inspirations

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•17-39: Miracle of the Crib at Greccio / Church of St. Francis, Assisi, Italy / Late 13th or early 14th century CE / Fresco ● portrays St. Francis making the first Christmas manger scene in the church at Greccio ● gothic visual narrative→ made to allow viewers to relate to the scene in their own time, the Middle Ages ● the scene of the past is portrayed as in the present ● there’s a large wooden cross suspended on the screen which separates the sanctuary from the nave→ tilting forward and hovering over people in the nave, who are crowding at the open door ● the narrative is shown in the small area at the right with St. Francis holding the baby Jesus above a crib with representations of animals that may have been at the Nativity ● this sacred scene was shown in a setting that allowed viewers to connect and imagine themselves a part of the scene

Visual Narrative

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- Narrative Image: image that recounts an event drawn from a story

Monoscenic Narrative - image that represents a scene from a story - one action taking place - easily identified in context and has significant importance

Continuous Narrative - multiple scenes from the same story appear in one image - characters of the story can re-occur

Registers - device used in systems of spatial definition --> Paintings: using different groundlines to differentiate layers of space --> Relief sculptures: placement of self-contained bands of reliefs in a vertical arrangements

The Bayeux Embroidery - stitches on top of the elaborate textile

Chapter 18: 14th Century Art in Europe

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•18-9: Giotto / Kiss of Judas / Scrovegni (Arena) Chapel, Padua, Italy / 1305- 1306 CE / Fresco ● marks the moment of betrayal and Jesus’s first step to Crucifixion ● Jesus is shown as calm with the chaos that is surrounding him

•18-12: Duccio / Betrayal of Jesus / Siena, Cathedral, Italy / 1308-1311 CE / Tempera and gold on wood ● continuous narrative ● duccio express through the figure’s postures and facial expressions, the emotion in this narrative of Christ’s passion ● colorful and linear and the dimensions are perfect to the situation ● iconic→ when Duccio painted it there was a procession of joy in the city

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•18-13: Simone Martini and Lippo Memmi / Annunciation / Made for Siena Cathedral, Italy / 1333 CE / Tempera and gold on wood ● the angel Gabriel addresses the virgin Mary (she recoils to her throne, startled) and what he says to her is incised into the gold-leafed gesso in the background

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•18-15: Ambrogio Lorenzetti / The Effects of Good Government in the City and in the Country / Palazzo Pubblico, Siena, Italy / 1338-1339 CE / Fresco ● panoramic landscape painting ● the viewpoints are shifted so the viewers can see more of the city and the figures are larger in scale than the buildings, highlighting what they’re doing ● shows all activities and seasons of sowing, hoeing and harvesting

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