ART 175 Exam Image list - Chapters 6 - 11 PDF

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Summary

Study Guide:

Chapter 6: Etruscan and Roman Art
Chapter 7: Jewish and Early Christian Art
Chapter 8: Byzantine Art
Chapter 9: Islamic Art
Chapter 10: Art of South and South East Asia before 1200
Chapter 11: Chinese and Korean Art Before 1279...

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Chapter 6: Etruscan and Roman Art Etruscans:

• 6-7: Dancers and Diners / Tomb of the Triclinium, Tarquinia, Italy / c. 480- 470 BCE / Wall painting ● ● ●

men and women dance around with music (flutes) stylized trees and birds geometric decoration

Romans: The Republic 509 - 27 BCE

• 6-13: Portrait Head of an Elder / From Scoppito / 1st century BCE / Marble ● ● ● ●

embodies wisdom of old age roman idealization expresses and accentuates the wrinkles of old age in the face rather than smooth them over as the artists did in the greek classical period portrait sculpture

The Early Empire 27 BCE - 96 CE

• 6-19: Augustus of Primaporta / Livia’s villa, Primaporta / Early 1st century CE / Marble ● ● ● ● ● ●

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this sculpture is showing the emperor Augustus in the way he wanted to be remebered represents how roman emperors used protraiture as propoganda--> rooted authority combination of earlier sculpture art that is the baises of Augusten art has early greek classical period sculpture, Polykleitos's contrapposto and canonical proportions (as shown in his work Spear Bearer) this sculpture is shown of Augustus's youth, like many of his portraits to have an eternal youth, but also has the same detail as an aged sculpture to give it character the artist also shows mythological reference-->at his leg is Cupid, son of Venus, riding a dolphin to represent the emperor's family (the Julians) descended from Venus through her human son Aeneas. on Augustus's torso depicts an image of his diplomatic victory over the Parthians in 20 BCE; a Parthian returns a Roman military standard to the goddess Roma; above is a celestial deity holding an arched canopy representing peace; below the Earth is personified representing Augustan peace

• 6-22: Imperial Procession / From the Ara Pacis Augustae (Altar of Augustan Peace), Rome / 13-9 BCE / Marble ●

men, women, and children as Augustus’s hopes for dynastic succession; life-like stylistic approach; showing the family of Augustus as imperial rule of Rome bringing peace and prosperity with his successors

• 6-30: Initiation Rites of the Cult of Bacchus (?) / Villa of the Mysteries, Pompeii / c. 60-50 BCE / Wall painting ● ● ● ●

figural murals showing what might be the initiation of a mystery religion (maybe the cult of Bacchus) performed in private homes or special buildings such as temples could be the shrine to the god of vegitation, fertility and wine (Bacchus aka Dyonisus was an important god in Pompeii) the architecural setting consists of the marble dado and around the top of the wall is a frieze supported by painting strips the paint is Pompeian red-->popular with Roman painters

• 6-31: Cityscape / House of Publius Fannius Synistor, Boscoreale / c. 50-30 BCE / Wall painting ●

intuitive perspective--> a general impression of real space beyond the wall; the architecture follow diagonal lines that the eye sees as parallel lines dissolving in the distance; the objects that are in the background appear to be smaller and smaller than the foreground.

• 6-37: Spoils from the Temple in Jerusalem / From the Arch of Titus / c. 81 CE / Marble ● ●

relief sculpture on the inside walls of the arch of titus depicts Titus’ soldiers flaunting the sacred treasures through Rome’s streets they took when the Romans crushed the revolt campaign of the Jews in Palestine

The High Imperial art of Trajan and Hadrian

• 6-48: Romans Crossing the Danube and Building a Fort / From Trajan’s Column / c. 113 CE / Marble ● ● ●

starting at the beginning of the spiral (bottom of the column) depicts Trajan’s army crossing the Danube River on a bridge to launch the first Dacian campaign a battlefield headquarters is constructed by soldiers where men recieved orders, food and weapons Trajan is shown strong, stable, and an efficient commander of his army, while his enemies are shown as worthy opponents of Rome→ imperial ideology and propoganda

• 6-57: Equestrian Statue of Marcus Aurelius / Rome / c. 176 CE / Bronze ● ● ●

imperial portrait showing propaganda→ accomplishments and pretensions of emperors successful military commander proud of his intellectual attainments

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was mistaken during the Middle Ages as a statue of constantine (first Xian emperor) ○ bc of this the statue wasn’t melted down ○ there used to be a crouching barbarian that the horse was trampling his hair is thick with curls which resembles traditional philosopher portraits from Greece; no armor or weapons to show his effortless conquering the sculptor found a balance between the size of the horse and Marcus, still giving him a dominant look and making the horse look large at the same time→ used as a model for later artists

The Late Empire, 3rd and 4th Centuries CE

• 6-68: Constantine the Great / From the Basilica of Maxentius and Constantine, Rome / 325-326 CE / Marble ● ●

Constantine wanted to impress the people of Rome with symbols of his authority commissioned a 30 foot statue of himself to be put inside the Basilica Nova within an

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apse sculptors used white marble for the head, chest, arms, and legs and then sheets of bronze for the drapery this was a symbol representing him whenever business legally required him the head has a combination of features from traditional Roman portraiture and abstarct qualities stylized symmetrical pattern within his jaw, nose, chin his eyes, eyebrows and hair are simplified in geometric arcs showing imperial power and dignity with no weakness or imperfection

Chapter 7: Jewish and Early Christian Art

Judaism and Christianity in the Late Roman World

• 7-4: The Crossing of the Red Sea / From a House-Synagogue, Dura-Europos, Syria / 244-245 CE / Wall painting ● ● ●

a dramatic narrative showing Moses appear twice on the left he is leaning toward the army of the Pharaoh marching along the path created for the Hebrews by God parting the waters on the right he is shown wielding his staff, returning the water over the Egyptian soldiers to stop them from coming through

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over both of these scenes is a hand hovering, which represents God’s presence In this “two-part” narrative the hierarchic scale shows Moses as the hero

Early Christian Art

• 7-7: The Good Shepherd, Orants, and the Story of Jonah / Catacomb of SS. Peter and Marcellinus, Rome / Late 3rd-early 4th century CE / Painted ceiling ● ● ● ●

a catacomb painting used for burials and funeral ceremonies on the ceiling of a cubiculum partitioned by a medallion and four semicircular lunettes, framed by arches; at the center is a Good Shepherd a reminder of Jesus’ promise “I am the good shepherd. A good shepherd lays down his life for the sheep” (John 10:11) the semicircular parts surrounding the Good Shepherd, telling the story of Jonah and the sea monster, where God made Jonah get thrown overboard and swallowed by the monster, but then he was released, repentant, and unharmed 3 days later→ this story is reinterpreted by Xians as a parable of Christ’s death and resurrection (symbolizing everlasting life) ○ on the left Jonah is thrown from the boat; on the right the monster spits him up; below and between these two scenes Jonah reclines in a shade of vine symbolizing paradise.

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in between these semicircular parts (lunettes) are images of faithful Xians who were buried here

Imperial Christian Architecture and Art

• 7-17: Sarcophagus of Junius Bassus / Grottoes of St. Peter, Vatican, Rome / c. 359 CE / Marble ● ● ● ● ●

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elaborate figural scenes columns, entablatures, and gables divide the space into individual scenes Junius Bassus was a Roman official→ newly baptized and died August 25, 359: age 42 at the center of both spaces is Christ above he shown as a Roman emperor, distributing legal authority in the form of scrolls to the figures SS. Peter and Paul; he is also resting his feet on the head of the pagan god of the heavens, Coelus, which represents Christ as ruler of the cosmos. below is earthly Jesus making his way into Jerusalem like a Roman emperor, riding in on a humble donkey at the top left is Abraham passing the test of faith, not needing to sacrifice his son Isaac→ Xian’s saw this as an allegory foreshadowing God’s sacrifice of his own son, Jesus. under the triangular gable, which is second from the end at the bottom right is the story of Daniel saved by God from the lions at the bottom far left, Job’s faith is tested by being a model of Christian martyrs

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(sacrifice) next to Job’s scene is Adam and Eve taking the forbidden fruit and now conscious of their nakedness, trying to cover themselves with leaves on the upper right filling two spaces is Jesus appearing before Pontius Pilate, who is washing his hands symbolizing his denial of being responsible for Jesus’ death. Jesus is held captive between two soldiers

Chapter 8: Byzantine Art

Early Byzantine Art

• 8-9: Empress Theodora and her Attendants / San Vitale, Ravenna / c. 547 CE /Mosaic ● ●

South wall of the apse Theodora is standing under a fluted shell canopy with a golden halo and crown hung with long strands of pearls; carrying a huge golden chalice studded with jewels (held the Eucharistic wine)--> she will donate to the church; wears imperial purple; elaborate

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jewelry includes a wide collar of embroidered and jeweled cloth. her attendants wear the rich textiles and jewelry of the Byzantine court the figures cast no shadows; overlapping allowing to see the figures clearly in a procession; the scenes portrayed are flattened and 3D, abstract and representational, patterned and individualized. Theodora is a powerful and notorius figure

• 8-14: Virgin and Child with Saints and Angels / Monastery of St. Catherine,

Mount Sinai, Egypt / Second half of the 6th century CE / Encaustic on wood ●

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Icon(from the Greek word eikon, meaning image) as an aid to meditation and prayer→ honoring the image was believed to transfer directly to its spiritual prototype Theotokos (Greek for “bearer of God”), Jesus’ earthly mother was seen as powerful, and forgiving. the virgin and child are surrounded by Xian warrior-saints Theodore and George who are both said to have slain dragons (representing the Church triumphing over the “evil serpent” of paganism ○ behind them angels look to heaven ○ the artist painted the virgin, child and angels with a lifelike and 3D apperance ○ the warrior saints are more stylized→ hints at the form of a body underneath their cloaks and their faces are frozen and tense

Iconoclasm ("image breaking") - deliberate destruction of icons (religious figures) to strip them of their power - 726 Leo III, a byzantine emperor, launched a campaign of iconoclasm to destroy and prohibit devotional pictures - whoever defended or protected these images were persecuted - 843 this policy was reversed

Middle Byzantine Art

• 8-21: Christ Pantokrator / Church of the Dormition, Daphni, Greece / c. 1100

CE / Mosaic ●

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main dome of the monastery church of the dormition at daphni has the image of the Pantokrator which is centered at the crest of the dome→ a seal of divine sanction and surveillance the figure is elegant and awesome Christ addresses and blesses the congregation with one hand, while the other clutches a massive book in the corner piers are four scenes from his life: Annunciation, Nativity, Baptism, and Transfiguration

Chapter 9: Islamic Art

• 9-1: Yahya ibn al-Wasiti / The Maqamat of Al-Hariri / From Baghdad, Iraq / 1237 CE / Manuscript illumination ● ● ●

part of an islamic cautionary tale reveals a scoundrel name Abu Zayd who was known for his trickery and theft Abu Zayd's adventures gives a glimpse of Muslim life

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In this image a congregation is at a Mosque (Muslim place of worship) They are listening to the decietful Abu Zayd preach a sermon at the minbar (pullpit), who plans to steal the alms collection; the men sit directly on the ground with the listener in the front looking up towards the speaker; the man is centered by the arch of mirhab (the niche indication the direction of Mecca) on the rear wall; the man's white turban contrasts with the dark gold background; the mirhab and minbar are usually next to each other, but in this composition the artist choose to make them separate perhaps to emphasize the important subject of the islamic narrative.

The Early Period: Ninth through Twelfth Centuries

• 9-8: Dome in front of the Mihrab / Great Mosque, Cordoba, Spain / 965 CE / Mosaic ● ● ● ● ●

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a mirhab with three bays in front of it these capped the maqsura (an enclosure in front of the mirhab reserved for the ruler and other digintaries) the dome over the central bay may be a metaphor for the celestial canopy geometric shapes repreasent the islamic people's love for math and geometry in an artistic perspective the mosiacs patterns, geometric motifs, and stylized vegetation clothe are shown in bright colors and gold--> installed by a Byzantine master, sent by the emperor in Constantinople (this exchange represents the "interconnectedness" of the Medieval Mediterranean in trade, diplomacy and competition floral patterns, abstract patterns

• 9-10: Page from the Qur’an / Syria / 9th century CE / Manuscript ●

red marks accent the brown ink; the surah (chapter) is embeded in the burnished ornament at the bottom of the sheet; page numbers are marked by the gold framing the words; chapter breaks were indicated by the gold circle that project from the gold framing words

Aniconism: - not having religious figures as art

Chapter 10: Art of South and South East Asia before 1200

The period of the Shunga and early Satavahana

• p. 304: The Great Departure / From The Great Stupa, Sanchi / 1st century BCE / Sandstone ● ●

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relief sculpture the story of Prince Siddhartha becoming the Buddha depicted in a narrative in the middle architrave of the east gate of The Great Stupa. ○ the Prince left the palace and the local Gods (Yakshas) helped him by cupping their hands under the horse’s hooves so no one would wake up. the far left shows the horse without his rider in the middle is a tree indicating the change in scene from the palace into the woods on the far right shows the horse and charioteer turn back without the local Gods (yakshas only accompanied the horse when ridden by the Prince) leaving Shakyamuni (his new name representing him leaving the princely life--leading to enlightenment) to start his life as an ascetic ○ to the right of this are the footprints that indicate where Prince Siddhartha dismounted his horse

The Kushan Period

• 10-13: Buddha and Attendants / Mathura, India / c. late 1st-early 2nd century CE / Sandstone ● ● ●

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early Mathura (second major style of Buddhist art during this period) image→ gives powerful impression of Buddha used red sandstone with cream-colored spots; carved in high relief depicts Buddha sitting with two attendants and his right hand is raised in a symbolic gesture (called mudras: to communicate certain ideas→ teaching, meditation, or the attaining the enlightenment) meaning “have no fear” Buddha’s urna, his ushnisha, and the impressions of wheels on his palms and soles ○ behind his head is a halo; the border represents radiating light and behind this are branches of the pipal tree (the tree Buddha was under when he achieved enlightenment); two celestial beings are above him his robe is tight showing his form as almost nude; the robe is shown abstractly through parallel ridges and an incised line at the center of each; this abstraction is also shown in the face→ geometric shapes; his torso is subtle and soft and naturalistic Buddha has an outward gaze, alert posture, concentrated energy drawing imagery associated with nature deities and revealing spiritual power in physical form

The Gupta Period and Its Successors

• 10-15: Vishnu Lying on the Cosmic Waters / Vishnu Temple, Deogarh, India / c. 530 CE / Sandstone ● ● ●

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depicts vishnu lying on the cosmic waters at the beginning of creation, sleeping on the serpent of infinity, Ananta, whose body coils endlessly his female energy, shakti, is personified by the goddess Lakshmi who is holding his foot, while Vishnu dreams the universe into existence the God Brahma emerges from Vishnu’s navel springs, behind him→ Brahma appears as the central, four-headed figure above Vishnu in the row of Gods ○ Brahma turns himself into the universe of space and time by thinking “May I become Many” the sculptor made Vishnu large with four arms, which denote his omnipotence; is decorated in ornaments and the Gupta style is shown in his smooth, perfect body and the detailed jewelry--particularly his cylindrical crown on the right in the frieze below are four figures that personify Vishnu’s four attributes, standing to fight the appearance of evil, which is also represented by two demons, at the left of the frieze, threatening to kill Brahma and jeopardize all creation this sculpture represents the birth of the universe and the appearance of evil in three “registers”--> this is a common Indian religious and artisitc expression that show events through drama acted out by gods in “superhuman form”

• 10-16: Buddha Preaching his first Sermon / Sarnath, India / c. 465-485 CE / Sandstone ● ● ● ● ●

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embodies the developed Sarnath Gupta style→ carved from fine-grained sandstone sits in a yoga-like posture and showing a teaching gesture, signifying the First Sermon other devotees are joined by two divine beings flying in above them the plain robe he wears with no folds or creases are an artistic approach from the Kushan period and is part of the Sarnath style his body that shows through the robe reveals broad shoulders and a well-proportioned torso; the subtle lines of the robe on the neck, waist and hems fit this sculpture gracefully; the contours of the face are smooth and elegant like his body; his eyes look down showing some “otherworldly introspection” but his body and posture is human-like behind his head is a halo carved in circles of pears, contrasting with the plain contours of the Buddha

Early SouthEast Asia

• 10-31: Shiva Nataraja (Shiva as Lord of the Dance) / South India / 11th century CE / Bronze ● ● ● ● ● ● ●

the dance of Shiva is of cosmic proportions which signify the cycle of death and rebirth, as well as liberation of the believer the sculpture shows Shiva with four arms dancing on the prostrate body of Apasmara (a dwarf--controlled by Shiva--who symbolizes “becoming”) Shiva’s extended left hand holds a ball of fire (symbolizes the destruction of samsara and the universe and of maya and ego-centered perceptions Shiva’s right back hand holds a drum (the beat represents rhythms of creation (birth) and destruction (death) Shiva’s front right arm shows the abaya “have no fear” mudra (a symbolic hand sign) the front left arm stretches across his body point to his raised foot, signifying the promise of liberation the sculptor made this sculpture very symmetrical ○ Shiva’s form is perfect and delicately decorated in ornaments→ the jewelry is not too detailed and doesn’t take away the beauty of the body ○ made using “lost-wax method”--> skill of artists from the Chola period

• 10-35: Scene of Drunkenness and Moderation / Borobudur, Central Java, Indonesia / 9th century CE / Relief scu...