Art History

The central theme of Narmer's Palette is __________________.the unification of upper and lower Egypt.

The Stepped Pyramid of Djoser is built in the form of six ____________ stacked upon one another. MASTABA

A tholos is a beehive shaped palace for the royal family of the Minoan Civilization.

false

Assyrian Sculpture civilization, centred in the fertile Tigris valley of northern Iraq, can be traced back to at least the third millennium B.C.E., some of its most spectacular remains date to the first millennium B.C.E. when Assyria dominated the Middle East.

file:///Users/molijslager/Downloads/Assyrian%20Sculpture.pdf

Paintings from the Tomb-chapel of Nebamun

Paintings from the Tomb - chapel of Nebamu n The fragments from the wall painting in the tomb - chapel of Nebamun are keenly observed vignettes of Nebamun and his family enjoying both work and play. Some concern the provision of the funerary cult that was celebrated in the tomb - chapel, some show scenes of Nebamun's life as an elite official, and others show him and his family enjoying life for all eternity, as in the famous scene of the family hunting in the marshes. Together they decorated the small tomb - chapel with vibrant and engaging images of an elite lifestyle that Nebamun hoped would continue in the afterlife

Which stylistic features are NOT TRUE for the human figures in Minoan frescoes?

Stiff and rigid pose Frontal depiction of the figures

A tawny cat catches birds among the papyrus stems. Cats were family pets, but he is shown here because a cat could also represent the Sun - god hunting the enemies of light and order. His unusual gilded eye hints at the religious meanings of this scene. The artists have filled every space with lively details. The marsh is full of lotus flowers and Plain Tiger butterflies. They are freely and delic ately painted, suggesting the pattern and texture of their wings. A feast for Nebamun (top half) A feast for Nebamun , the top half of a scene from the Tomb - chapel of Nebamun, c. 1350 B.C.E., 18th Dynasty, paint on plaster, 88 x 119 cm, Thebes © Trustees of the British Museu m An ent ire wall of the tomb - chapel showed a feast in honor of Nebamun. Naked serving - girls and servants wait on his friends and relatives. Married guests sit in pairs on fine chairs, while the young women turn and talk to each other. This erotic scene of relaxati on and wealth is something for Nebamun to enjoy for all eternity. The richly - dressed guests are entertained by dancers and musicians, who sit on the ground playing and clapping. The words of their song in honor of Nebamun are written above them: The earth - god has cause d his beauty to grow in every body.. . the channels are filled with water anew , and the land is flooded with love of him. Some of the musicians look out of the paintings, showing their faces full - on. This is very unusual in Egyptian a rt, and gives a sense of liveliness to these lower - class women, who are less formally drawn than the wealthy guests. The young dancers are sinuously drawn and are naked apart from their jewelry .

The art work displayed is the sculpture named Apulu, Apollo of Veii from the roof of the Portonaccio Temple. This painted terracotta sculpture displays very bright and lively colors. I see a similar facial style to the Archaic period, as those sculptures displayed a very stylized face and smiling feature to them. Even though this Etruscan art sculpture is said to be from the 5th century BCE, Apulu has an animated face. His position displays frontal view in a striding motion. The clothes draped over him does not provide viewers with a realistic sense of clothing, the schematic lines draws a symbolic attention instead.The art work displayed is the sculpture named Apulu, Apollo of Veii from the roof of the Portonaccio Temple. This painted terracotta sculpture displays very bright and lively colors. I see a similar facial style to the Archaic period, as those sculptures displayed a very stylized face and smiling feature to them. Even though this Etruscan art sculpture is said to be from the 5th century BCE, Apulu has an animated face. His position displays frontal view in a striding motion. The clothes draped over him does not provide viewers with a realistic sense of clothing, the schematic lines draws a symbolic attention instead.

sumerican - common name given to anceitn inhabitants in southern mesopotamia - e

earliest known writing system first urban communities inventing the writing system

seated scribe

old kingdom scuplutre not life size - 4,600 years old necropolis at sqarra very important - distinct scuplture in a pictoral artwork - very human, very natural compared to hieratic egyptians figures ( not of kingly divine, hes a scribe ) - very high class, more naturalistic fashion - fat around his middle belly = wealth, middle age, lost muscle tone, sense of wisdom - eyes are very vibrant, exceptionally alive eyes - his informal pose, relaxed = meant to be seen from the front, a funerary sculpture ( transcendent ) for interior of the tomb,= meant for the afterlife

The "palace" at Knossos is a ...

Minoan structure

Heirarchy of Scales

Warka Vase - Uruk, Iraw 3 1.4 high 3200 - 3000 BCE

mummification process

- Herakleides died in egypt at 20 years old perserve body for afterlife organs removed before mummification lungs were left in this specific case body covered with sale for 40 days - no moisture plant resins, perfume oils puto on body, resins & linen were wrapped around the body on a wooden board + more wrappings ibis - wading bird, placed on admonen = votive offerings to the gods but ( a bird is deceased & mummifed with the body ) linen cloth wrapped around the mummy red shroud mummies are rare - pigments & gold were drawn

site of Troy

"Treasure of Priam" was uncovered by Heinrich Schliemann, reflect artistic connections that extended through central Anatolia and northern Syria.

Palette of King Narmer is one of the oldest samples of sunken relief in ancient Egyptian art. FALSE

Amarna art is a term that refers to Egyptian art that dates to the reign of __________________.Akhenaton

Introduction of Greek Art and Geometric Style (1).pdf accepted a pantheon of gods - worshiped in human from - but the debate of the nature of those gods + relationships between divinites & humankind = did fate control human actions , free will? - greek thinks concieved of many aspects of life in dualistic terms. - studying greek art highlights 3 seperate sources of information on a subject = there are the works thtemselves, Roman copies of Greek orignials, espciallly sculptures. - the greeks were the first Western people to write at length about their artists, a glimpse of what they considered singificant achievements in architecture Geometric style - greek art - 3 main subgroups= Dorians centered in the Peloponnese, Ionians ( inhabits Attica) & Aeolians ( northeat Aegean ) common beliefs & language, Man & Centaur - bronze amphora - thin arms, flat, triangular chests contrast with rounded butt & legs. spherical heads, beards, noses metal worker made this from one peice - a narrative piece, pervailing a struggle ( could represent Herakles, son of Zeus and a mortal women who faught centaurs ) 725 - 650 BCE - new style of art emerged in greece = Orientalizing period - absobred eastern motifs & ideas including hybrid creature such as griffins, sphynixes. experimentation & new forms

Ancient greek Vase production -Dipylon Amphora vid - gigantic cermaic pot- used a grave marker - figures, a narrative scene ( geometric period ) - covered with sharp edges meanders, diamons, triadngles, black bands around the lip to seperate the partso f the vase peoople & animal represented deer graxing, goats or gazells lying down, ( repeated motif ) shoulder of the pot- handles meet the body = dead women is being mourned, shroud above her, figures pulling at their hair to symbolize mourning - no space blank, below dead women - perhaps the fam + kids - trangles, black sillouhetts, not glaze, slip ware - fine particles of clay suspended in water then painted on the pot, = fired ina kilm 900 ' celscius, entire pot is then black, cooled + oxygen in the kilm- not painted wud turn to their warm water color ( black color is from the fire )

Horsemen, north frieze of the Parthenon, ca, 447- 438 BCE - classical, Poseidon, Apollo, Artemis, east frieze of the Parthenon ca 447 - 438 BCE - classical, heavy dress waiting ( no facial impressions, calm, emotionless fce ), just sitting either fighting or sitting ( no difinitve expression ) - a feeling of calm, patience

parthenon - artwork corner columns of the building = thicker steps - they have slight curve ( slide 17 ) ideal look

Kritios boy late archaic - severe style / early classical *** marble not bronze = smooth volumes, peek of human achievement late archaic - early classical - see transition between archaic koros & the naturalistic movement filled figures on the parthanon - Kritios boy - 480 bce ( persian empire invaded athens & sacked the Acropolis - buried the sculptures - ****** gteek city states battle the persian empire 490 bce - greeks victorious at the battle of Marathon 480 BCE - greeks defeated acropolis in Athens sacked - new found naturalism - new sense of self & self determination - marble, standing nude, still / pottential for movement - incipient movemnt - sense of profess + unfolding of time = very modern look - volumes of the body, bone structure, no calf, but standing ( contrappost ) - one shift in one part of the body efects the rest of the body - axis of hips arent aligned, weighbearing line is upwards - head - no strict frontality - assymmetrical - no archaic smile = arch in his back, very relaxed pose - strut - once held the hand up - greeks desired an strature thats open, free, space ( eeyes are hollowed & put glass in )

polyklwiros, doryphoros ( spear bearer ) - ancient greeks thought human body was perfct - not an indivudal is perfect but the mathematical proportions of every part of the body was in perfect realtinoship to every body part - greek bronze oringal - artist Polykleitos - what ^ would perfect ideal beauty be, mathmatical relationship of each part of human body to another - Doryphoros means spear bearer - he is missing a bronze spear in the replica Polykleitos called the statue canon -^ idealized form that could be replicated, form that u could follow - you can create a perfect human form based on math = bigger set of ideas for the GREEKS - athletics nude - celebrating the body & physical abilities - noble pursuits - clothes are not apparent - nude sculpture ( even war scuplure ) = all about the perfection of human form - romans loved greek art & copied in marble very often - this sculputre is before the classical period but after archaic figures - greeks have turned away from. the stiff, greek renderings - ^ understand the anatomy ^ contrapossto - right leg is weight bearing, the left leg is relaxed, and the hand would of been weight bearing with a spear, right arm is relaxed= harmoney/ counter balanced - left ankle is up - tilt of axis, hips are paraell but tipped= right side is compressed, = breaked symmtry of the head turned right = first time in western history that we see now figures can be seen fully alive, they move in the world, similar to humans today * walking sculpture - mechaics of the scuplture are very complex, capture how the body moved (human potenial at the center ) - no transcendent figures

epic of gilgamesh is the oldest written story

ziggurat - monumental platform for a temple

Standard of Ur -

( LECTURE silde 17 ) Heraldic comopsition - composition symmetrical on either side of a central figure ( BUll headed Harp, Ur, Iraq 2600- 2400 BCE ( Sumer)

Persepolis

Audience hall of Darius and Xerxes Persepolis Iran ca 500 BCE

ART of mesopotamia - lecture

ca 3500 BCE - 330 BCE page 2 = characteristics of civilization

third millennium B.C. This was a time of astonishing creativity as city-states and empires emerged in a vast area stretching from the Mediterranean to the Indus Valley

urban revolution, first represented by the formation of cities in southern Mesopotamia (ancient Iraq), must be looked upon as one of humanity's defining moments.

Define "sunken relief". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). Sunken relief can be described as carving into the surface of a stone or surface while leaving the surrounding surfaces untouched & at a higher level than the sculpted elements.Royal Family of Akhenaton "sunken relief"- Amarna 18th Dynasty

1.5 / 2 points Define "heraldic composition". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). = You should explain which part of the Bull-headed harp is an example of heraldic composition? The bull-headed harp has 4 different scenes in 4 registers. Only, the composition in the uppermost register shows the heraldic composition. The heraldic composition is a composition that is when a central figure is flanked by symmetrical figures on either side. So, we need to see at least 3 figures in a composition. One figure should place in the center and two symmetrical figures should be on either side of this central figure.

Sculpture Perhaps most interesting about the Portonaccio temple is the abundant terracotta sculpture that still remains, the volume and quality of which is without parallel in Etruria. In addition to many terracotta architectural elements (masks, antefixes, decorative details), a series of over life-size terracotta sculptures have also been discovered in association with the temple. Originally placed on the ridge of temple roof, these figures seem to be Etruscan assimilations of Greek gods, set up as a tableau to enact some mythic event.

Apollo of Veii The most famous and well-preserved of these is the Aplu (Apollo) of Veii, a dynamic, striding masterpiece of large scale terracotta sculpture and likely a central figure in the rooftop narrative. His counterpart may have been the less wellpreserved figure of Hercle (Hercules) with whom he struggled in an epic contest over the Golden Hind, an enormous deer sacred to Apollo's twin sister Artemis. Other figures discovered with these suggest an audience watching the action. Whatever the myth may have been, it was a completely Etruscan innovation to use sculpture in this way, placed at the peak of the temple roof—creating what must have been an impressive tableau against the backdrop of the sky.

slide 5

Apulu ( Apollo of Veii ) from the roof of the Portonaccio Temple Painted Terra- cotta, 5'10 high ca 510 - 500 BCE, Veii, Italy in this picture, you see one of those terracotta sculptures. It is from port in at your Temple. This sculpture known as a pool B. It is a painted terracotta roofs culture from a trask, um, archaic period, as I mentioned before, even though Etruscan art books inspired from the Greek art, there are this thing distinctive traits that reflects that Etruscan cultures that Etruscans values.

white temple

Archaeologists uncovered some 19 tablets of gypsum on the floor of the temple—all of which had cylinder seal impressions and reflected temple accounting. Also, archaeologists uncovered a foundation deposit of the bones of a leopard and a lion in the eastern corner of the Temple (foundation deposits, ritually buried objects and bones, are not uncommon in ancient architecture).

Stone Sculpture eightth century BCE greek erected simple wooden sculptures of their gods for worship in sancutaries- wood deterioerates, none have survived - Kore & Kouros - - rigidly frontal, four distinct sides, reflecting the form of the block from the sculptor carved - greek male is youth, slim, broad shouldered+ left foot forward with clenching fists. - both figures are stylized wiglike hair, empty space between legs, toros, arms linerar treatment of the anatomy - they were depiected as ideals of physical perfection & vitality shared by mortal, & immortals- a meanign to their physcial context only wealthy cud afford them life size, carved from high quality marble

Archaic sculpture-Kore and Kouros - page 3 = ARCHAIC PERIOD - dating & naturalism, & TEMPLE OF ARTEMIS, CORFU

slide 9

Banditaccia Necropolis, Cerveteri, Italy, 7th to 2nd centuries BCE those type of detailed information about trust in life comes from their necropolis. In this picture, you see one of the well preserved Etruscan necropolis. Interpreter. This is money. Attack your necropolis every time When I see this neck proposes to mass meeting movie Lord of the Rings doesn't look like the Hobbit land shire. And it was those certain circulars tructures are rock comes soft Volcanic rock formation Allow them to have those type of Tombs. The important thing for art historian is until your design off those times.

Etruscan tombs - Regolini - Galassi Tomb at Cervveteri is an early example of this more elaborate burial practice, dating to the so - called Orientalizing phase of the mid seventh century BCE Etruscans formed tombed in the shape of. mounds called tumuli - grouped together outside the living spaces of Etruscan towns & builderes roofed the long dromos or pathway leading into the tomb with corbeled vaults built of horizontal overlapping ocuress of stone blocks, similar to the casemates at Tiryan fibulas are among the grave goods - fibula = resembled a brooch or decorative safety pin The Regolini- Galassi Tomb is one of many tumulus tombs built at necropolis near Cerveteri over the course of several centuriese. ( page 2 )

Burial chamber, Tomb of the Reliefs, Cereteri, 3rd century bce

lecture slide 10 ( classical / late frieze metopes pediment 3 goddesses ( Hestia, Dione, Aphrodite from the east pediment ( 438 - 432 BCE - calsssical matsterpieces, heads & arms are lost, greeks didnt create permenace like egyptians but the IDEALIST ONE Dionysos - east pediment ca 438 - 432 BCE - relaexed pose, watching the sun rise, he has a head, good example of idealism

Cenauromachy ( metopes from South Side, 447 - 438 BCE - man batteling a centar , classic hieroglyph sculpture ( not ideal ) - exaggerated their work

Define "Repousse Technique". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). The Repousse Technique is formed by the beating of a metal plate from the back to then leave the impression/ design on the front. The term can also be referred to as Metal Chasing and the Golden Death Mask is an example of the Repousse Technique.

Define "tholos". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). Tholos are circular tombs shaped above and underground. Tholos tombs were typically created for member of the elite or ruling family. The Treasury of Atreus is the largest tholos tomb as well as the best perservd one.

Hierarchy of scale

Difference in scale was the most commonly used method for conveying hierarchy — the larger the scale of the figures, the more important they were. Kings were often shown at the same scale as deities, but both are shown larger than the elite and far larger than the average Egyptian.

The influence on ancient Rome Etruscan influence on ancient Roman culture was profound and it was from the Etruscans that the Romans inherited many of their own cultural and artistic traditions, from the spectacle of gladiatorial combat, to hydraulic engineering, temple design, and religious ritual, among many other things. In fact, hundreds of years after the Etruscans had been conquered by the Romans and absorbed into their empire, the Romans still maintained an Etruscan priesthood in Rome (which they thought necessary to consult when under attack from invading 'barbarians'). We even derive our very common word 'person' from the Etruscan mythological figure 'Phersu'-- the frightful, masked figure you see in this Early Etruscan tomb painting who would engage his victims in a dreadful 'game' of blood letting in order to appease the soul of the deceased (the original gladiatorial games, according to the Romans!).

Etruscan art and the afterlife Early on the Etruscans developed a vibrant artistic and architectural culture, one that was often in dialogue with other Mediterranean civilizations. Trading of the many natural mineral resources found in Tuscany, the center of ancient Etruria, caused them to bump up against Greeks, Phoenicians and Egyptians in the Mediterranean. With these other Mediterranean cultures, they exchanged goods, ideas and, often, a shared artistic vocabulary. Unlike with the Greeks, however, the majority of our knowledge about Etruscan art comes largely from their burials. (Since most Etruscan cities are still inhabited, they hide their Etruscan art and architecture under Roman, Medieval and Renaissance layers). Fortunately, though, the Etruscans cared very much about equipping their dead with everything necessary for the afterlife—from lively tomb paintings to sculpture to pottery that they could use in the next world.

slide 4

Etruscans used stone material only for problem, which is a platform. They built their temple on it. They used wood and mud bricks to build their temple. Wolves were made from mud bricks in the columns and roof were made from wood. Their temple was wider than Greek temples. It is simply because of their religion at Ruskin's. Never worship the one main god, and they never choose one god for their temple for their city states. As you see on this model, there are three different cell for three guards in this temple. You can see one gate over here. The other one is over there and another one here Etruscans don't have the columns all over the temple. Like Greek temples. Columns are at the front of the temple in the deep porch high Podium has narrow staircase on Lee, front of the temple Etruscans have their own style of architectural decorations. Columns have Tuscan capitals and basis, and rarely they have sculptures in the pediments. Off capitals and basis, and rarely they have sculptures in the pediments. Off their temple. Sculptors were o n the roof since the material was good on the roof. They did not put having stone sculptures. They used terracotta. "baked earth" in latin diffferencees from the Greek Temples - wood columns & wood roofs - colums are at the front of the temple mud brick walls it sat on a high podium ( stone ) - narrow staircase front of the temple - it is wider than Greek temple - deep porch 3 cella for 3 gods very rare pedimental sculpture narratives on the roof ( terracotta )

Define "relief sculpture". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). A relief sculpture is created with the intentions to be viewed from the side. The art is distinguished from a flat background. =The question also asks you to write an example to illustrate your definition. Venus of Laussel or Gobekli tepe pillars' sculptures are good examples of relief sculptures.

Gobeklitepe is the name of the location. it is in modern Turkey, 9600 BCE, Neolithic Period.

King Naram-Sin is depicted in a composite view on the Naram-Sin's Stele. TRUE

Goddess Inanna is depicted in a heraldic composition on the Warka Vase. FALSE Goddess Inanna isn't depicted in a heraldic composition on the Warka vase. Heraldic Composition: A composition that is symmetrical on either side of a central figure.

classical period 480 - 400 BCE greek history - persians invaded greece persians forced divded city states to retreat - athens was leader city city state - athens beginning of athens golden age influence on western art & culture Kritios Bou athens, Ca 480 BCE ( early classic ( severe style ) - contrapposto - counter balance " weight shift " -** one of the most important & earliest sculpture with contrapposto- greek, separates archaic & greek statue - calm, serene expression , no fake smiling ( his expression is the reaction to the spirt of his current events ) - head is slightly turned & tilted = dont look at the audience - very symmetrical, not natural - one of the first to break the unrealistic statues - muscles r well defined, smooth flesh seems natural and real - pride & confidence the shift of weight of a standing figure onto one leg resulting in an asymmetrical realignment of the entire body, Tthe ancient greeks invented the position. Contrapposto refers to a weight shift ***** - the figure has his weight shifted onto his one leg, while the other is bent. - assymetrical figure - different on the different sides of his body - as a result of contrapposto, the figure looks as though it can move ( looks alive )

Greek artists' desire was different than the ancient egyptians. Instead of creating more durable scultures (such as the sculptures in egypt for the afterlife belief/KA) ancient greek artists wanted to create more natural, realistic sculptures. They used models, theys studied anatomy to observe every detail to reflect them on their art. Durability was not their priority.

Greek architecture - The Erechtheion, 421-405 B.C.E. (Classical Greek), Acropolis, Athens. Greek architecture refers to the architecture of the Greek-speaking peoples who inhabited the Greek mainland and the Peloponnese, the islands of the Aegean Sea, the Greek colonies in Ionia (coastal Asia Minor), and Magna Graecia (Greek colonies in Italy and Sicily). Greek architecture stretches from c. 900 B.C.E. to the first century C.E. (with the earliest extant stone architecture dating to the seventh century B.C.E.). Greek architecture influenced Roman architecture and architects in profound ways, such that Roman Imperial architecture adopts and incorporates many Greek elements into its own practice. An overview of basic building typologies demonstrates the range and diversity of Greek architecture. - "Hera II," c. 460 B.C.E., 24.26 x 59.98 m, Greek, Doric temple from the classical period likely dedicated to Hera, Paestum (Latin) previously Poseidonia, The most recognizably "Greek" structure is the temple (even though the architecture of Greek temples is actually quite diverse). The Greeks referred to temples with the term ὁ ναός (ho naós) meaning "dwelling;" temple derives from the Latin term, templum. The earliest shrines were built to honor divinities and were made from materials such as a wood and mud brick—materials that typically don't survive very long. The basic form of the naos emerges as early as the tenth century B.C.E. as a simple, rectangular room with projecting walls (antae) that created a shallow porch. This basic form remained unchanged in its concept for centuries. In the eighth century B.C.E. Greek architecture begins to make the move from ephemeral materials (wood, mud brick, thatch) to permanent materials (namely, stone).

Greek architectural orders An architectural order describes a style of building. In Classical architecture, each order is readily identifiable by means of its proportions and profiles as well as by various aesthetic details. The style of column employed serves as a useful index of the style itself, so identifying the order of the column will then, in turn, situate the order employed in the structure as a whole. The classical orders—described by the labels Doric, Ionic, and Corinthian—do not merely serve as descriptors for the remains of ancient buildings but as an index to the architectural and aesthetic development of Greek architecture itself. Doric order The Doric order is the earliest of the three Classical orders of architecture and represents an important moment in Mediterranean architecture when monumental construction made the transition from impermanent materials—like wood—to permanent materials, namely stone. The Doric order is characterized by a plain, unadorned column capital and a column that rests directly on the stylobate of the temple without a base. The Doric entablature includes a frieze composed of trigylphs—vertical plaques with three divisions—and metopes—square spaces for either painted or sculpted decoration. The columns are fluted and are of sturdy, if not stocky, proportions.

slide 7 Dipylon crater - funeral scene = no figures with dress - only men? no - some figures have 2 ducks on their armpit - symbolic breasts - duck on man = penis - wanted to show genders twisted perspective no realsitci oor accurate body size artist showed children i the funeral - funerary - smeone was a solderi - in first register ( animals are under his tomb ) geometric forms - same mourning, pulling hair ritual

Herakles & Nessos Olympia statuette of a horse, Olympia ca 8th century Mantiklos. Apollo from thebes, not alot of geometric sculptures lack of realism awkward body & body positions bronze, copper & brass figureines are from geometric period

ANCIENT EGYPT - This work is part of a larger program intended to..=provide for the afterlife

How does this sculpture depart from the stylistic conventions of earlier Egyptian art? -the relaxed postures of the figures -the intimacy of the scene

Identify and explain the art work. What is the approximate time period in which it was made? State which civilization made it. The art work above displays Naram - Sin Stele from the time period of the Akkadian Empire. The narrative is consistently in composite view as a propaganda tool for the king. The story of the king's power and acquisition has been cultivated on Stele, a carved slab of stone that stood over 6 feet in height ! = 2245-2218 BCE

Identify and explain the art work. What is the approximate time period in which it was made? Which civilization made it? Support your identification by discussing the style of the work. Write about the basic stylistic/technical characteristics of the artwork. (Ask these questions to develop a better answer; how do the figures look like? how do you describe them? Are there any pictorial conventions can you see on those images? Are there any technical or artistic style innovations or differences? Which technique did the artists use to create those works? Within what context did people use them? Did the images have religious, cultural, political or other significance? etc.) WARKA VASE, from Uruk, modern Iraq, from 3200-3000 BCE. Made by the Sumerians. The vase form is very simple. It is a freestanding, tall, decorated ceremonial vase without a handle. This is the presentation of offerings to Inanna. The vase is thought to have been used for religious ceremonial purposes. The artist used the hierarchy of scale to emphasize the most important figure(s) in this artwork. It is one of the new pictorial conventions that we haven't seen on any of the earlier periods' (Paleolithic and Neolithic periods) artworks. Goddess Inanna, the largest figure, is depicted in a composite view in the top register. She is depicted in a temple and she receives offerings. Dividing the scenes into different bands/friezes/registers is another new convention we see in this piece. This technique helps the artist to narrate the story in organized /divided scenes. The second register shows naked Sumerian men walking and carrying some gifts for offering to her. The third and the fourth registers show animals and plants as the symbol of life, fertility, prosperity, and richness. In the bottom register, we see a wave decoration which means a river that is the symbol of the source of life and it is one of the attributes of inanna. All figures are carved on the vase's surface. They are low relief sculptures. The low relief figures are illustrated in a composite view, as we have seen in prior artworks, but there is another new artistic convention; a ground line. All the figures are standing on a ground line as opposed to haphazardly placed in space as we have seen in cave paintings.

Define "composite view". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). A composite view or twisted perspective is a piece of artwork with a figure or figures shown in a side view while also having figures to be drawn in a front view.Example: Fresco from Tomb of Nebamun

In Paleolithic caves, representing the animals on a specific place was important. All animal and human figures stand on a common ground line. FALSE = We don't see a common ground line in prehistoric period art.

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Interior of the tomb of the augurs, Monterozzi necropolis, Tarquinia, Italy, 520 BCE - Tom types were not the same in everywhere. Some a trashcan cities have wall paintings in their homes instead of reliefs. These stones are not covered by months. No carvings, no domestic references. This is Tomb. Off the hours from Tarconi. Oh, over the Timberwolves are pain. In this picture, you see two men standing on each side ofthe adore. We may consider this composition as heraldic composition. The door represents the holy gate that opens opens to after life. Those men. So the gate and also they are morning in the same time, because of their friend or family member will pass that door on the right side. There is a funeral ceremony and the games for honoring person's soul. You can see two neck male figures are wrestling. All figures are depicted in composite view Their hands and feet are unrealistic. Would be solid color or background. Take all of the attention on the figures and actions

slide 17

Interior of the tomb of the leopards, Monterozzi necropolis, Tarquinia, Italy 480 - 470 BCE this wall painting is from another tone from same necropolis in Turku Nya. This is Tom off leopards interior wall painting off This tome depicts an open air symposium under the tent. Those geometric paintings on the roof represents the roof off a tent. Couples recline and enjoy their life. Remember Egyptian Tom off? Never mind old paintings. Now Obama depicted as a man who enjoys his life. Similar Egyptian tradition was over here. Notice their hand gestures. Male figures have darker skin color, and females have lighter. It is commmon. Color codes for genders in ancient world are replanning couples, naked slaves, musicians and dancing people. All of them are depicted in twisted perspective. You can see the typical exaggerated hens and feet size It's Glory, and that Etruscan cities eventually became part of the Roman Empire. Their culture, their religion and their art influenced the Roman culture and art for a long time. Next chapter, we'LL

you see the Kafre's pyramid. It is not the biggest one, but the most preserved one. As you see, there are some lighter colors blocks on the top all pyramids used to have smooth white cover blocks for finishing, and they might have a gold plated Ben Ben Stone, which is the pyramidal shaped last block on the top. And average block stone weighing 2.5 tons, and there are approximately 2.3 to 2.5 millions stone blocks in here, just like other Egyptians. Pharaohs wants to make sure about his Ka, But since he is a half god king, surely his statues are more durable & protected

Khafre Enthronzed, Gizeh Fourth Dynasty, diorite statue, 5'6 high (2520 - 2494 BCE ) one of the statue of Pharaoh Khafre. Khafre enthroned. Let's Khafre's position. Basically, he is seated on a throne. First, look at his perfect posture. That's his first royal mark. Second, look at how the throne is lifted up on a place, for that's to make sure his feet are not touching the ground, not sharing common ground with immortals. Thirdly, notice he's holding a small rod in his right hand. This rod is a sign of his power, and his left hand is resting flat on his on his leg. He wears only a kilt and a nemes, which is a kind of crown on his head. He has young, godlike body. This is not Khafre's realistic portrait. is idealized body of pharoah. This sculpture is not an open sculpture. It is not fully three dimensional. The back side of it is a flat slab. It's meant to be pushed up against the wall to increase its intimidation factor. Also, it's not pierced anywhere. All of the kings, arms, legs and flesh are attached to the rest of the sculpture. This as a measure taken to protect to the statue, you notice that many classic Greek statues are standing by themselves and missing limbs. Egyptian sculptures are generally better preserved. There is a hawk (falcon) on back of the King Khafre's head that is the god horus. He's the protector of gods. Every king was considered a god. His throne is decorated with upper and lower Egypt symbols This statue was located in the funerary temple for the funerary ceremonies. Priests and other servants used to offer gifts, practice some rituels and pray.

Lysippos, Apoxyomenos (Scraper). ( Roman marble copy ( 6'9" high, after bronze origninal of ca 330 BCE - late classical artist - - removing oill & dirt from body - tall , lighter body - arms are held in the arm more - moving art, very realistic

Lysippos ( artist ) Weary Herakles, ( Farnese Hercules ) Roman marble copy after a bronze original, 10' 5 high ca 320 BCE - slide 21 - god is tired, u dont see a tired god or hero - tired is not ideal - one hand on his behind ( MUSCLES ) = OBSERVE ARTWORK from different angles - rejected stabblity & balance for statues

Metal Chasing / Repousse Art - press, hammer metal onto large chunk of ? ( ) - hot flame

Mask of Agamemnon, Mycenae, c. 1550-1500 B.C.E. - great greek hero of homers - not agamemnon - enormous cash / gold objects from bodies two graves ciricles at Mycenae( greece ) grave a and grave b - vast majority of the cahs is authentic - of bronze air culture hammering of the gold - thin & flat = then hammered against a mold - shaft graves = imortant, pwoerful familes + gold objects, gold necklaces, bold boxes, swords, daggers = 30 lbs of gold - Myceane is a citadel - fortifed vast 1 of the 3 primary cultures - bronze age cultures before the GREEK GODS so little writing linear B scripts - but little writing culture = warlike MYceane minoan - peaceful / lived in palaces

Rosetta Stone 196 BCe hieroglyphs demotic greek

Mastaba is the earliest and the most common burial structure. As you see in pic his picture, it is very simple rectangular shaped brick structure with sloping walls. There is a chapel in this structure for the after ceremonies other rituals, but the actual tomb was under the mastaba. buried under desert sands. As you see, Mastaba looks like you cut the pyramid from section, close to the base. If you continue the sloping walls to the to eventually you will create a pyramidal shape. That's actually how

Archaic Art - ca 600 - 480 BCE Lady of Auxerre, Early Archaic - late geomertric/ early archaic period geometric deisgn is domint - her belt, body shape, her hair - colum like likes, arms more natrual - geometric or archaic label - orginals were painted elborated, SLIDE 11 New York Kouros, from Attica, 600 BCE - one of earliest archaic sculptures- 26 hundred yerars old - archaic greek sculpture - revolutionary artworks - first free standing life size human sculptures new york cross - nkaed women sculpture - taboo for long time male nudity was not taboo * men were almost all naked

Mentuemhet, Egypt 4'5 high new york kouros 6 1/2 high - egyptian stnading frontal - frontal rigid prose, one foot in front, fists are clenched, ( - dipylon & crater - new grave markers - greek statues - ca belief egpytican statue - stone block between legs to form the stature archaic doesnt have block in between, realistic, nudity ( greek culture exposed their body ) - Moschophoros ( Calf Bearer ) dedicated by Phonbos, Athens one of oldest pose in art archairc coros smiling on face- archaic smiling not about showing feeling - but smiling = subject was alive = result of tecchnical difficultty of the mouth frontal naked male statue - an archaic cros made after 6th century bce ny cross - bigger head, krosis - natural, shoulder, arms chest are rounded, closeness creates a natural curve on his hips & makes frontal pose not rigid, Kroisos, from Anavysos greece 530 BCE archaic cross stature - krosis a yougn man died in battle - developement of smiling & using a softer flesh look to his face Exekias ( Achilles & Ajax playing dice ) black figure Amphora, Italy 540 - 530 - waste painting - one famous greek - orange color + black figurines - no paint on this black figure - colors created with a firing process uses slip - 3 steps of process use metal tool to decorate + make details large body frame focus on game - the table is the focus hands one table - frontal legs geometric ray motfis on bottom

Which statements are NOT TRUE of Mycenaean culture?

Mycenaean culture was dominant in southern Italy. Mycenaen culture influenced the Mesopotamian culture.

Polykleitos, Doryphoros ( Canon) roman copy of a bronze statue of ca. 450 - 440 BCE - idealism in politcs sciene & art - always challengeed - ^ veyr influential sstatue - - greeks used hollow bronze casting - bronze statues were mostly melted -romans copied the greek artwork - greek sculptures were roman copies romans had marble - heavy & supporting elements next to the sculpture ( tree trunk, a vase, shield, animal,) - struts between hand & body ( slide 4 ) proportional structure, mathematical calculations - ideal human figures - larger than life size ( Canon) to illustrate his theories - harmony of opposites - hand is relaex but straight arm ( ^ very clear Contrapposto ) - *** most ideal sculpture

Pericles, Roman Herm, copy of the head of a bronze statue- ca 429 BCE 6ft high - after persian threat - greeks formed an alliance from any east threats - head quater & treasury moved to athens - arrogance - pericles built acropolis ( but it was destroyed during persian war )

Define "hierarchy of scale". Use complete sentences as you write your response (1 point). When appropriate, identify a work or structure that we have discussed in class in order to illustrate your definition (1 point). A hierarchy of scale within a piece of art means the narratives / pieces / figures of the narratives are scaled unproportionally to emphasize importance of such figures.War side of the Standard of Ur is an example of hierarchy of scale ( referring to the kings proportions compared to the rest of the art work )

Piece Side is the name of the displayed artwork and is an art pice that represents victory. This is a Mesopotamia piece of artwork that displays hierarchy of scales, ground line, registers and composite view that are all present within this art. This is the Royal Standard of Ur ca. 2600B.C.E. It is made out inlaid lapis lazuli stones, shell, and red limestone on wood. There are peace and war sides of this wooden box which narrates the Sumerian victory over their enemies. This is a Sumerian art piece.

Praxiteles - Aphrodite of Knidos- Roman copy, 6'8 high ca 350 - 340 BCE women like, boobs, hips, holding onto - greek art focus on individual & real world apperance than commonality of perfect building & perfect beings - art started to refelct feelings, expressions, states of being - faces show human emotions - roman copy of an original ^. ( praxiteles is artist, described aphrodites taking a bath ** first life size nude WOMEN STATUE IN THEIR culture, it was shock & a rule breaker

Praxiteles ( artist & slide 19 ) Hermes & infantDionysos from temple of Hera, olympia greece ( roman copy after orginial that was 7'1 high, ca 340 BCE - feeding god baby dionysos - features of this standing classic statue - curve on the body, contrpposto - signature of the artists statues Praxiteles his - statues have dewey eyes, & anatomy are more accurate baby god doesnt look like a baby ( mini man, ) - babys are not fav subjct of greek artists

tholos tombs exalted the dead by drawing attention - attracted robbers, graves had luxurous clothing, furniture, weaponry, death masks of hammered gold- The Vaphio cups - burial method used in the shaft graves - with treasures -

Sculpture - Mycenaean architecture consisted of modest structures apart from the palaces - free standing scupltures were rare, three deities - small carved of 2 women kneeling with a young child - describes a transient moment ( arms intertwined) + a family group, grandmother, child & mother some say it represents the 3 divinities one of whom takes the form of a child National Archeaological Muesem -

*****Thus the art of the third millennium B.C. reflects not only the extraordinary developments in the cities of the Near Eastern heartland but also their interaction with contemporary civilizations to the east and west. This was a seminal period in the history of humanity and by exploring it we gain perspectives not only about the major artistic and cultural achievements of ancient Mesopotamia but also about the enduring legacy of the earliest of urban civilizations.

Sumerian Art - mud brick Temple architecture - linking heaven & earth THe gilgamesh epic Sculpture & inlay The royal cemetery at Ur Visual Narratives EX - female head from Uruk Iraq 3200 - 3000BCE limestone

Approximately 6000 years ago, ________________ established the earliest complex urban societies, called city states, in Mesopotamia. Choose the correct answer for the blank=. Sumerians

The Ancient Near East is characterized by long periods of political stability.FALSEEEEE

white temple

The White temple was rectangular, measuring 17.5 x 22.3 meters and, at its corners, oriented to the cardinal points. It is a typical Uruk "high temple (Hochtempel)" type with a tri-partite plan: a long rectangular central hall with rooms on either side (plan). The White Temple had three entrances, none of which faced the ziggurat ramp directly. Visitors would have needed to walk around the temple, appreciating its bright façade and the powerful view, and likely gained access to the interior in a "bent axis" approach (where one would have to turn 90 degrees to face the altar), a typical arrangement for Ancient Near Eastern temp

In Sumerian art, figures shows combine profile views of the head, legs and arms with front views of the eye and the torso. TRUEEEEE

This piece is a very good example of a hierarchy of scale, King Naram-Sin stands very tall, much larger than the warriors of his army and the fallen of his defeated enemy. All figures are depicted in a composite view. Parts of the figures are shown in profile (side view) and other parts of the same figures are shown frontally (front view). They are walking, standing, climbing on a natural looking ground line. King Naram-Sin isn't depicted in a heraldic composition on the Naram-Sin's Stele. Heraldic Composition: A composition that is symmetrical on either side of a central figure.

The massive changes in the way people lived also changed the types of art they made during the Neolithic age. These are... Human figures started to be depicted on ground line on the cave wall paintings Pottery became more widespread. Neolithic sculpture became bigger. Architecture, and its interior and exterior decoration, first appears.

The animals are rendered in what has come to be called ___Composite view___in which their bodies are depicted in profile while we see the horns from a more frontal viewpoint.

Identify and explain the art work. What is the approximate time period in which it was made? Which culture made it? Support your identification by discussing the style of the work. Write about the basic stylistic/technical characteristics of the artwork. (Ask these questions to develop better answer; how do the figures look like? how do you describe them? Are there any pictorial conventions can you see on those images? Are there any technical or artistic style innovations or differences? Which technique did the artists use to create those works? etc.) 5700 BCE Neolithic era - Deer Hunt wall paintingA piece of painted plaster from a wall in a home of Çatalhöyük.The piece of art highlights a hunting scene which is an example of narrative art with human and animals images painted in a twisted or composite perspective. This is one of the first narrative art pieces. The artist or artists used different colors to emphasize the deer's importance and lacked a definitive ground line which pictured / placed the animals and humans to be floating.

The land located between the Tigres and Euphrates rivers is called ___Mesopotamia___

Akhenaton Sandstone Statue which stood 13' high from the temple of Aton Karnak during the 18th dynasty 1353- 1335 BCE. This piece of art work was made during the Amarna Period. The Amarna Period was a short span of time where Egyptian art shifted as a result of Pharaoh Akhenaton banning Egyptians to worship other gods. In this time period they only saw God Aton. The art during this period did not feature a godlike body, instead the shift showed a statue with a hint of a masculine body but also a genderless body frame was desired. The elongated body portrayed godly features yet this statue was different from previous pieces of Egyptian art.

This art work is Khafre Enthroned from Giza, Egypt, c. 2520 that was made from diorite and stands 5' 6 in height. The art work does not display an open sculpture as the third dimension of the art is not visible to the eye. Khafre was a pharaoh during the 4th Dynasty and through his statue, royal attributes were put together. The full image displays a human body sitting yet, without Khafre's feet touching the ground, to emphasize he was not sharing common ground with immortals. There is also a sign of power through his crown and the bird on his shoulder, as a royal mark. His young, godlike body was not a realistic portrait, and in meaning / resting place of Khafre Enthroned was located in the funerary temple for the funerary ceremonies.

What was the primary function of these early Cycladic statues in the picture above.

These are only speculations. We have no written records!

we we see in museums

These pieces generally show less quality in the workmanship; being oddly proportioned or poorly executed; they are less often considered 'art' in the modern sense. However, these objects served the exact same function of providing benefit to their owners (and to the same degree of effectiveness), as those made for the elite

Heroceldies - first century ad - all organs removed - the heart puch of relliglious significane place don chest, mummified IBIS placed on abdomen bird being muffieied with a human??

This is a step pyramid of Djoser (Zoser). Architect Imhotep designed and built this stepped pyramid for pharoah Djoser. Imhotep is the first recorded name of an artist anywhere in the world. As you see, he redesigned mastabas and built this pyramid. This stepped pyramid it seems to be composed of a series of mastabas of diminishing sizes stacked one atop another to form a structure that resembles the great Mesopotamian ziggurats.

The specific pose of the largest figure can be best described as Composite

Where is the god Aten in this sculptural relief? = The round disk in the center of the image

Modes of representation for two dimensional art

Two - dimensional art rep resented the world quite differently. Egyptian artists embraced the two - dimensional surface and attempted to provide the most representative aspects of each element in the scenes rather than attempting to create vistas that replicated the real world Each object or element in a scene was rendered from its most recognizable angle and these were then grouped together to create the whole. This is why images of people show their face, waist, and limbs in profile, but eye and shoulders frontally. These scenes are complex composite images that provide complete information about the various elements, rather than ones designed from a single viewpoint, which would not be as comprehensive in the data they conveyed.

Archaeological evidences show that, Gobekli Tepe inhabitants plastered their house floors and walls just like in Catalhoyuk. FALSE - Hide Feedback Current excavations show no evidence of long term settled life in Gobeklitepe. It means Gobeklitepe people did not build houses/villages. It is an important Neolithic site because the T-Shape pillars are evidence of the earliest religious ritual (maybe a temple) of history. Gobeklitepe people were not settled people like other neolithic people. They were possible semi-nomadic pre-neolithic groups who visited the Gobeklitepe area to build those circular structures and they left after they built them.

Venus of Willendorf is one of the oldest known relief sculptures depicting a woman.FALSE Venus of Willendorf is not a relief sculpture. Venus of Willendorf is a subtractive sculpture that can be viewed from all sides. Venus of Laussel is a relief sculpture.

Which cave has the famous paleolithic cave "room", Halls of Bulls? =Lascaux in France

What is the main reason of not knowing the certain meaning and the purpose of the paleolithic cave paintings?= There are no known written documents.

Repoussé is a technique for working with _____.METAL

What motivated the cultural changes that characterize the Amarna period? =The king created a monotheistic state religion devoted to the god Aten.

Neolithic is a Greek word. 'Neo' means ___new___('lithic' means ___stone_

Which of the following is NOT one of the defining characteristics of Neolithic age people = They had nomadic life =Hide Feedback One of the important characteristics of the Neolithic period is the settled life. Neolithic people built their own buildings and they created small settlements/villages. They produced their own food and they domesticated the animals. They used lintel and post systems to build their simple buildings. Already the term "building" is for the neolithic age people. In earlier periods' people did not build buildings. Paleolithic age people were nomads. They did not live in the villages.

Standard of Ur is one of the earliest extant works incorporating the pictorial conventions that would dominate ancient narrative art for more than 2000 years. Dividing the pictorial field into registers. Placing the all figures on a common ground line. Hierarchy of scale. Composite View.

Ziggurats were the royal tombs for the king and his family in Mesopotamian Civilizations. = A ziggurat is a part of the Mesopotamian temple construction. Ziggurats were the high platforms for the temples of Mesopotamia Civilizations.

Etruscan Gold - Working filigree- art of soldering fine gold wires - singly or twisted together into a rope - onto a gold background Granulation describes the process of soldering tiny gold balls or grains onto a background. Skilled Etruscans worked with very small grains to decorate larger areas, linear or geometric patterns & cud use them with embossed designs Pendant representing the head of Acheloos- decorated with granulation 6th century BCE Musee du Louvre, Paris

alabastron - perfume container or an egg, symbol of eternity abstract forms & rigid poses of the archaic style - the soft materilows the sculptor to model rounded forms & capture an extraordinary directness & vivacity bright colors,

basic characteristics of the artistic style that came to define the art of the Near East were already established by the third millennium B.C. in Mesopotamia. One of the primary aims of Mesopotamian art was to capture the relationship between the terrestrial and divine realms. Styles and iconography were transmitted to sites such as Mari and Ebla in northern Syria as well as to Iran and as far as Arabia. In contrast to the arts of Mesopotamia, those of Egypt glorified the king as the embodiment of divine power, and it remains difficult to assess what, if any, contribution Egyptian art made to Mesopotamian artistic style.

file:///Users/molijslager/Downloads/The%20cradle%20of%20Civilization.pdf

slide 12

interior of tomb of the reliefs, Bantidaccia Necropolis, Cerveteri, Italy, 4th - 3rd century BCE - This is another term from same neck cripples this Tomb known as the tomb off the reliefs it represents so many details about trust come culture. Those columns are not actual columns that support the roof. Those columns are just part of the same fabric off the battery. This style off the carving the batterer to create this tone reminds us Egyptian rock cut tombs a trust. Guns used plaster to create those relief objects, and then they paint them. You can see plastered towards shields, kitchen wares, mythological scenes, potteries and so many other small details on the world's.

slide 11

interior of tomb of the shields & chairs, Bantiaccia necropolis, Cerveeteri, Italy 550 - 500 BCe Some of these stones were called out from the bedrock in the shape of the regular at Etruscan House with furniture, decorations and all other details.So these terms hello us to study at rascal culture and even early Mediterranean civilizations. In this picture, you see, a tom was planned like a house with some furniture and shields. Hang on the walls. You can even see the post and lentil structure off the gate.

slide 6 Apulu he was on the temple rooftops ( Acroteria ) he is made of terra cotta, wearing clothing, Gesticulating arms, striding motion & animated face First of all, Apulu was made of terracotta, and it was on the rooftop of the fortune at your temple. He is not noon like Croesus cross. He's weird wearing clothing. He has frontal pose like crows is cross. But just declaring arms, striding motion and animated face are the distinctive trades on his front of post. As you can see, the drapery folding lines on his clothing is not realistic. They're very schematic lines, almost symbol.

slide 7 sarcophagus with reclining couple from Cerveteri, Italy, painted terra - cotta, 3' x 6'7, ca 520 BCE because of the material choice. Their temple don't provide us so much information, but they're necropolis. Provide historians so much detailed information about trusting culture about their daily life, their house. They retails their habits. So necropolis is a Greek word literally means city off the debts. Well, sounds like a third class zombie movie title. Necropolis is a cemetery. This sarcophagus is from Jura veteran cripples sarcophagus is is a kind of coffin. Most of time it is stone, but you may also find different material circle focus like terracotta. In this picture, cremation was the most common method for disposing of bodies in Italy at that time. This Sarko fathers is to contain the ashes after cremation Etruscan lifestyle was different than Greeks, Egyptians or Romans in Greece or Rome. It was unheard off for a woman reclining on a couch with her husband in public. Greeks and Romans used to have same type of home parties for socializing. It's called symposium means Drink together. Today we used this word for academic conferences at Etruscans used to organize organize symposia, too. The difference both at rascal wife and husband, enjoys symposium, while only Greek men or Roman man attends the symposium in Greek or Roman culture, it's rescue Woman. Enjoy more equality than Greek or Roman woman. As you see, this couple seems at ease and in love,not region or formal like like men. Man Curia or Cameron empty in Old Kingdom in Egyptian art, notice their distinctive trust gesture with the hands artists focus on their upper body rather than their lower parts position off. Their bodies are unrealistic, anatomically not correct, but the focus was on their upper bodies. They both turned their chest frontal and look at the audience with characteristic Etruscan almond shaped eyes. Animated face and just equating arms are standard characteristics of Etruscan sculptures

Iktinos & Kallikrates, Parthenon Temple, Athens, Greence, 447 - 438 BCE slide 6 38 ft tall statue of athena parthenon = architects built through mathematical formulas & calculations - controlling formula characterizes the parthenon

slide 7 Phidias, Athena Parthenos, ca 438 BCE, Model of chryselephantine statue toronto canada & tennessee USA Acropolis, Athen, Greece

PPalette of Nar-mer.. The largest standing figure is about to hit another figure who is on his knees. The largest figure wears Upper Egypt crown and the figure on his knees wears lower Egypt crown. So lower Egypt Pharaoh is about o hit by Upper Egypt Pharaoh. Upper Egypt king, name is Narmer, is the king who hold all power Behind Narmer, you see his priest. and front of him, there is a falcon torturing human headed papyrus that is another symbol of lower Egypt. This falcon is god horus. So narmer has his gods' full support. All figures have twisted perspective. This palette is divided into three registers. Artist hired another artistic convention, hierarchy of scale, to emphasize the most important figure by size. In the top registers, you see two horned cows. They are cows but they have horns. Um, they are the goddess hathor, the mother of all pharaohs. There are two falling male figures represent the falling lower Egypt cities. In the bottom register, King Narmer's hitting pose, known as the Mace pose or smiting pose will remain in Egypt art for 3000 years. Like I told you before, Egyptian art is canonic three different, sorry four different art ( PAGE 6 ) LECTURE

) There are two fantastic creators on the center of the other side of the palette, their long necks are mingled and create a circle of area that is actually for the makeup material. This is their symbol, commonly accepted as symbol of the unification of upper and lower Egypt. In the lower register, there is a bull knocking down a city. This bull is pharaoh Narmer. e upper register. we see pharaoh narmer wears lower Egypt Crown. ( e entered Lower Egypt City as the conqueror. you see all the beheaded bodies_ These are the lower Egypt soldiers. No perspective, low relief figures are in composite view. Also hierarchical scale emphasized the most important figure which is narmer in this side too.

Modes of representation for three

- dimensional art Three - dimensional representations, while being quite formal, also aimed to reproduce the real - world — statuary of gods, royalty, and the elite was designed to convey an idealized version of that individual. Some aspects of 'naturalism' were dictated by the m aterial. Stone statuary, for example, was quite closed — with arms held close to the sides, limited positions, a strong back pillar that provided support, and with the fill spaces left between limbs. - Wood and metal statuary, in contrast, was more expressive — arms could be extended and hold separate objects, spaces between the limbs were opened to create a more realistic appearance, and more positions were possible. Stone, wood, and metal statuary of elite figures, however, all served the same functions and retained the same type of formalization and frontality.

Side Panel Expand side panel House Altar Depicting Royal Family

- 1350 BCE egpytian art changed = art was consistent for 3000 years but 1350 - akhenanten changes the states religion *** worship to sun god aten aten is pleased him & his wife - the only ones to access to gods aten after he dies, egpytian rules turns back ( real shift in style) - sunken relief carving = new stylistic changes - informal, a couple with their relationship & relations to their kids ( supreme ruler, showing emotion, love, holding his daughter + nefertiti holding another daughter, swollen bellies of king - distinguish a new age, new religion from the past of egyptian style elements of traditional artwork he was a monotheist - to the pantheon of traditional religion of egyptians they would rule egypt together

Possible interpretation: unification of Upper and Lower Egypt As mentioned a bove, there have been a number of theories related to the scenes carved on this palette. Some have interpreted the battle scenes as a historical narrative record of the initial unification of Egypt under one ruler, supported by the general timing (as this is the period of the unification) and the fact that Narmer sports the crown connected to Upper Egypt on one face of the palette and the crown of Lower Egypt on the other — this is the first preserved example where both crowns are used by the same ruler. Other theories suggest that, rather than an actual historical representation, these scenes were purely ceremonial and related to the concept of unification in general

Another interpretation: the sun and the king More recent research on the decorative program has connected the imagery to the careful balance of order and chaos (known as ma'at and isfet) that was a fundamental element of the Egyptian idea of the cosmos. It may also be related to the daily journey of the sun god that becomes a central aspect in the Egyptian religion in the subsequent centuries. Palette of Narmer (detail) The scene showing Narmer wearing the Lower Egyptian Red Crown (with its distinctive cu rl)* depicts him processing towards the decapitated bodies of his foes. The two rows of prone bodies are placed below an image of a high - prowed boat preparing to pass through an open gate. This may be an early reference to the journey of the sun god in his boat. In later texts, the Red Crown is connected with bloody battles fought by the sun god just before the rosy - fingered dawn on his daily journey and this scene may well be related to this. It is interesting to note that the foes are shown as not only ex ecuted, but rendered completely impotent — their castrated penises have been placed atop their severed heads

Greek Art - Archaic Greek Art - greek civilization + greek. art - western culture? what does that mean ( what major elements?) religion? ( no ) geographically conditions = *** western / eastern divide = on troy troy was a sea route categorize ancient greek art under 5 different styles geometric & orientalizing art - ca 900 - 600 BCE Archaic Art - ca. 600 - 480 BCE classical art - ca. 480 - 400 BCE late classical art - ca 400 - 323 BCE Hellenistic art - ca 323 - 30 BCE basic vase forms - measder ( swigle ) palmette ( ) egg & anchor acanthus - kingly upward pattern

Dipylon Amphora , Athens necropolis - city of is greek word for symtrry - big amphora = never used to contain wine or olive oil= bottom of amphora is empty - erected froma grave = ppl pour liqids for fineral rituals = used as a grave mark - belongs to geometric period except ( geometric motifs , meaners, marks, lines ) goat & deer figures on the next - no blank area

diplon amphoras funeral scene - female figure laying down on a vat - women underneath - her body is not realistic, lays down on shoulder + triangle chest no natural perspective male and female around = mourning & pulling their hair in image of her death some are smaller but not hierarchical scale just children

Dipylon Krater - Dipylon Cemetery grave marker - less geometric designs more scens with figures from geometric period two handles on the side & a big tall food now used as a container but used in funeral rituals PAGE 6

Amarna Period ca 1353 - 1300 BCE Akhenaton sandstone statue 13' high from the temple of Aton Karnak, 18th dynasty 1353- 1335 BCE

Egyptian art is almost a solid art. Never had a big change except one small period. It is Amarna period between 13 53 and 1300 BC. Pharoah name was Amenhotep declared that all of the gods in Egyptian religion were false gods. - - There is only one powerful god and his name is Aton. He declared that he is the slave and son of Aton. He changed his name to Akhenaton After that point, things were a little bit different in Egypt. He banned to worship other gods. In this period we only see God atons attributes which is sun rays. ********It is very easy to recognize Amarna period art, for example. Look at this his statue. - he does not have godlike = masculine body. - He has feminine body to look like he is Ah, genderless. - It makes him godly. He has elongated body parts, especially his face. - He has protruding belly and Sunray symbols all around him.

in their religion = their religion that pharaohs are half gods. Their mothers is the same goddess hathor. When a pharaoh dies, he completed his journey in this immortal world and he became a full god and joined their pantheon.

Egyptian gods in here. osiris, horus, isis, hathor and ra. These are most important gods -

King Menkaure (Mycerinus) and queen

King Menkaure (Mycerinus) and queen King Menkaure (Mycerinus) and queen , (Museum of Fine Arts, Boston), Serene ethereal beauty, raw royal power, and evidence of artistic virtuosity have rarely been simultaneously captured as well as in this breathtaking, nearly life - size statue of the pharaoh Menkaure and a queen. Smooth as silk, the meticulously finished surface of the dark stone captures the physical ideals of the time and creates a sense of eternity and immortality even today. Undoubtedly, the most iconic structures from Ancient Egypt are the massive and enigmatic Great Pyramids that stand on a natural sto ne shelf, now known as the Giza plateau, on the south - western edge of modern Cairo. The three primary pyramids at Giza were constructed during the height of a period known as the Old Kingdom and served as burial places, memorials, and places of worship for a series of deceased rulers -- the largest belonging to King Khufu, the middle to his son Khafre, and the smallest of the three to Khufu's grandson, Menkaure - Head and torso (detail), Khafre enthroned , from Giza, Egypt, c. 2520 - 2494 B.C.E., diorite. 5' 6 inches high (Egyptian Museum, Cairo Pyramids are not stand - alone structures. Those at Giza formed only a part of a much larger complex that included a temple at the base of the pyramid itself, long causeways and corridors, small subsidiary pyramids, and a second temple (known as a valley temple) some distance from the pyramid. These Valley Temples were used to perpetuate the cult of the deceased king and were active places of worship for hundreds of years (sometimes much longer) after the kin g's death. Images of the king were placed in these temples to serve as a focus for worship — several such images have been found in these contexts, including the magnificent seated statue of Khafre, now in the Egyptian Museum in Cairo

Queen Khamerernebty was king's sister. Sisters and brothers marriages were not a taboo in ancient egypt palace. This common practice was to protect "divine blood line". Since they were considered as gods, it was normal to marry with the same divine beings. Queen is depicted with a long, transparent dress. Her breasts, pubic are, her belly intentionally emphasized. It is an old tradition / idea remained from the paleolithic era. Fertility! She is a fertile queen which is a powerful message. She is the life source.

Lecture slide 23

history of Mesopotamia - inextricably tied to the greater region, which is comprised of the modern nations of Egypt, Iran, Syria, Jordan, Israel, Lebanon, the Gulf states and Turkey. We often refer to this region as the Near or Middle East.

Mesopotamia, the area between the Tigris and Euphrates Rivers (in modern day Iraq), is often referred to as the cradle of civilization because it is the first place where complex urban centers grew

minoan pottery like wall paintings - minoan painted pottery was inspired by natural world of the Aegean potter painted their vessels with lively organic forms that enhance the curing shapes of the vases - middle / late minoan periods - pottery on the wheel emerged which created a rounded forms and many sizes eggshell ceramics in quantities to markets around the Mediterranean ) first international industries )

Middle Minoan III phase 11650 BCE at Knossos - a feam figure rasing a snak in each hand with a headdress & a cat on top, breasts are out but everything else is covered - Snake Goddess from the palace complex ( Knowssos, crete) - tiny wasit, snakes associated with earth deities & male fertility - ( mother godd or ritual attendents )

Pirams Treasure - verssels, jewelry, weapons made of precious metals shaft graves of Cirice A - Mycenae = magnificant objects such as a gold mask

Minoan paintings nature is primary object in paintings - multilobed green forms represent plants & rocks sea creatures are represented in lovely representations of nature - sear creatures reflect the Minoans keep awareness & respect for the sea the causal quality of Minoan images constrasts forcefully with the rigidity & timeliness of many egyptian representations- even tho there is good evidence for contact between Minoan artists & Egypt - Painted landscapes iin a seaside town = sereis of paintings of Landscapes - dark outline rilled with rich washes of red, blue ( from volcanics soils) swriling black lines to add texture . + lilies flower in vivid red trios, At Akrotiri painted inserted humans into the landscape, ( smaller or life size ) + scene reflects the towns role as a harbor - fleeet of ships ferries passengers between islands with a port city featured, detailed stone architecture + crowds or people watch from the street, rooftops and window - cud be an actual event or memorable expedition to a foreign land

SLIDE 28 basic plan of a greek temple black dots= doric columnas ( no base ) ionic temple - circle in a rectangle symbol * cellar or Naos = core of temple, main room to contain two ports - Naos is the entrance - Ophisthodomos ( functional ) Pronaos

Model of the Temple of Aphaia - important to know the develop of greek sculptures - archaic style on statues 480 BCE - replace / repair a sculpture but style changed - common pain - helenics - classic style started after persian invasion / new consciousness - doric temple ^ no base, triglyph Dying Warrior, from the east pediment of the Temple of Aphaia - shape & triangle pediment, - low ranks in the sitting laying or dying - happily dying warrior - arrow in chest- frontal view, not realistic sculpture, unrealistic pose, celtic smiling, body, muscle, ribs are naturally made, bronze arrow - Dying warrior, from east pediment of the Temple of Aphaia - early classic style - put statue archaic to classic arachaic - symbolic, smiling even while dying, frontal stages classic - most of statues dont look at viewers, they are looking away, no interest, no smiling

Late minoan art - unclear what brought the Minoan civilization to an end - eruption of volcano? invaders from greek mainland survived & established themselves in the center of Knossos until 1375 BCE - Mycenaeans abandoned control once Knossos was destroyed & artists at Knossos worked in Minoan styles -Toreador Fresco - palace complex, Knossos Crete 1550 - 1450 BCE ( Height 29.5 cm )

Mycenaean Art 1450 BCE - built cities of their one on Greek mainland since the start of the Late Helladic period ca 1600 BCE -

bull leaping from the Knossos palace - true fresco you can see same characteristics on this fresco, too. This is traditional traditional religious rituel calls Bull leaping. These ritual has strong connections with their Minotaur mythology. all figures have dynamic motion. You can see their bodies elasticity, pinched waist and curly hair are visible. As you see all of the figures are depicted in twisted perspective. Two different skin colors for gender segregation. White for female brown for males. Bull is depicted in large size. Bull and the young male are the center of the composition. There is no background decoration for this fresco

Mycenaean art 1600 - 1200 bce around three thousand BCE Greek speaking people invaded the Greek penninsula. They came with advanced metal, working, ceramic and architectural techniques during this Bronze Age period, which is from three thousand to one thousand BCE Mycenaean civilisation was dominant in Greek mainland. when a Minoan culture declined after about fifteen hundred BCE mycenaean culture rose to dominance in the region. Mycenaean culture was different than Minoan culture. Mycenaeans had fortified cities. We can see their military culture on their art.

Mycenaean art - Linear B - earliest writing in clay tablets inscribed with a second early writing system - linear character Linear B tablets refer to a wanax or lord / king something is under social order - wallls 20 m thick - culture focused on warfare - Tiryn - fortified their citadel = massive limestone blocks "Cyclopean" - casemates- storage for weapons - corbel technique - - walls meet in an irregular arch to over the span - when a corbel roofs an entire space- it is called a corbel vault ( Lioness Gate at Mycenae of 1250 BCE ) - relieving triangle - above the lintel, a corbel arch directs the weight of the heavy wall to the strong posts below. corbel relieves the weight resting on the vast stone lintel, which itself weights 25 tons heraldic pose - as mirror images of each other

Mycenaean tombas & their contents - bury dead in deep rectangular shafts - marking them at ground level with stones shaped like stelai - burials were distrubted in 2 groups ( Grave circles A & B ) - elite built more dramtic tombs as time went on - round form = tholos -best perseved & largest tolos tombs - Treasury of Atreus ( affter the head of the clan that Homer placed at Mycenae, - a great pathway or Dromos, lined with carefully cut & fitted ashlar masonry - flanking the opening with Egyptian green marble, carved with spirals & zigzags - Mask of Agamemnon from SHAFT GRAVE - Grave Ciricle A 1600 - 1500 BCE

Hunting in the marshes Cat catching birds in the papyrus clump (detail), Fowling in the Marshes , Tomb - chapel of Nebamun, c. 1350 B.C.E., 18th Dynasty, paint on plaster, Thebe

Nebamun is shown hunting birds, in a small boat with his wife Hatshepsut and their young daughter, in the marshes of the Nile. Such scenes had already been traditional parts of tomb - chapel decoration for hundreds of years and show the dead tomb - owner "enjoying himself and seeing beauty," as the hieroglyphic caption here says. This is more than a simple image of recreation. Fertile marshes were seen as a place of rebirth and eroticism. Hunting animals could represent Nebamun's triumph over the forces of nature as he was reborn. The huge striding figure of Nebamun dominates, forever happy and forever young, surrounded by the rich and varied life of the marsh. There was originally another half of the scene, which showed Nebamun spearing fish. This half of the wall is lost, apart from two old photographs of small fragments of Nebamun and his young son. The painters have captured the scaly and shiny quality of the fish

ancient egyptian artworks - religion = learn religion first art & religion acts together. The second important point Egyptian art is a canonic art. canonic = strict rules for the art. They followed those rules for thousands of years. formulated techniques, formulated styles, formulation for everything.In = ancient Egypt, as an artist, you wouldn't have flexibility and independence on your work. They had a cannon, sets of rule or formula. Then they had to make their statue on that way, painting on ******* hard to understand the time differences between two different statues that were carved in two different millennia, not centuries,

Palette of Nar-mer. It is a cosmetic palette, this two feet tall, shield shape ceremonial palette carved from single piece of flat stone. Both front and the back side of the palette is richly carved. All figures nd decorations carved in low relief. This piece is one of the most important archaeological findings for Egyptian history. It is not only because of the one of the oldest royal narrative artwork, but also it is ******** an evidence of the unification of Upper and lower Egypt that happened during the late third millennium BCE

all other most famous pyramids developed from Stepped Pyramid. These are the great pyramids of Giza .just like the stepped pyramid. Also, these are a part f a complex system. They all have a temple a Palace for after life and he tomb. All Kingdom dynasties gave more importance to the tomb itself. In the next picture, you will see you can see from the reconstruction drawing. They all are connected to some kind of some system, some complex structure ' A Pharaoh was considered as a god in ancient egypt. When they died, it means they completed their journey in this life on earth and then they took their place in ancient Egypt pantheon as a "completed full god". So tombs were important for them to protect their life energy calls "ka". Because of they were considered as "gods" naturally their tombs would be greater in size and complicity. These tombs are not isolated single structures. There are temples, sacred ways, gates, colossal size sculptures and royal family member's smaller size tombs are around them. You can see them in a map next images.

Pyramid of Menkaure ( 2490 - 2472) pyramid of Khafre ( 2520 - 2494 ) Pyramid of Khufu ( 2551 - 2528 ) great Sphinx ( 2520 - 2494 )

( LECTURE PAGE 15) this tomb, stepped pyramid of Djoser, resembles a palace. Its built as Djoser's home in the after life. As you see, there is a defense wall around the tomb, and there are so many small other buildings part of his palace after life. This is a temple tomb palace complex for Pharoah. The earliest known stone stone columns are used in this complex building. They're engaged to the walls. They're more decorative than supportive elements. They resembles papyrus plants

Regular people were not allowed to enter any temples in ancient world. Especially this type of tomb+temple complexes (mortuary temples) were not for the regular people. As you see on these images, this complex has surrounded with a wall to protect the king's tomb. Ancient temples were not designed to hold many worshippers inside. That is why all ancient civilizations' temples have altar outside of the main room. Only priests, servants and royal people were allowed to enter in some specific rooms. Ancient civilizations's temples considered as the house for their gods. So, it is not open for the people but servants. It is an important detail to understand the main difference of between ancient civilizations' temple architectures and later Christian temple architectures

I think why Egyptians selected to use this pose in their art work for thousands of years, was to show strength. I find this pose very striking as a powerful motion of power being shown in a snapshot of this action.

Remember paleolithic cave wall figures. Large beasts, especially bulls were the most common and important animal figures all over the paleolithic cave walls. Mesopotamian civilizations, Ancient Egyptians, Ancient Greeks, Romans and even today bulls were/are the symbol of power. King narmer is depicted as a powerful bull in here too. The naked male figure at the bottom represents the lower egypt itself or the lower egypt king (the figure wears a royal fake beard). You can observe the defense walls and the towers (on the walls) are destroyed by the bull/king narmer. The bull has a ground line but the fallen king does not have a ground line. It is a common way to humiliate the enemy. On this way, it shows, enemy doesnt have ground to stand on it. They lost everything!Both low relief figures are depicted in a twisted perspective.

Registers example Chaotic fighting scene on a painted box from the tomb of Tutankhamen in the Egyptian Museum, Cairo

Scenes were ordered in parallel lines, know n as registers. These registers separate the scene as well as provide ground lines for the figures. Scenes without registers are unusual and were generally only used to specifically evoke chaos; battle and hunting scenes will often show the prey or foreign armies without groundlines. Registers were also used to convey information about the scenes — the higher up in the scene, the higher the status; overlapping figures imply that the ones underneath are further away, as are those elements that are higher within the register.

Both statues are following ^^^ Menkaure & Khamerenebty the canonic egyptian formula. They have rigid, stiff ,idealized, unnatural frontal pose. all the body parts and even theirself are connected to their bodies. They are projected from a back slab (high relief sculpture). Egyptian artist used this back slabs for the larger (important) statues to provide them extra support. All these effort is only for one reason: Ka!

Seated Scribe, Saqqara, 4th dynasty Limestone staty e, 1'9 high 2500 BCE - realistic posture and details, his sagging chest muscle, his belly and his clever smiling He does not have a royal posture because he is not a royal person. He's a scribe sitting on the floor. *******As a side note; in the art. It's a kind of unwritten rule that most of the time realism increase when the social statues decrease, idealism increase if the rank in the hierarchy goes up **** ^ = He was not a royal but he was an important person. He was a scribe! He is educated person with a good, rich life. His saggy chest, his fatty belly and his arms with no muscle are shown in here proudly. It means he never need to do any laborwork! This object represents a goddess associated with love and marriage rituals.( orange, small big boobs, big butt & legs )

C onventions that remain the same for thousands of years There are several reasons the Narmer Palette is considered to be of such importance. First, it is one of very few such palettes discovered in a controlled excavation. Second, there are a number of formal and iconographic characteristics appearing on the Narmer palette that remain conventional in Egy ptian two - dimensional art for the following three millennia. These include the way the figures are represented, the scenes being organized in regular horizontal zones known as registers, and the use of hierarchical scale to indicate relative importance of the individuals. In addition, much of the regalia worn by the king, such as the crowns, kilts, royal beard, and bull tail, as well as other visual elements, such as the pose Narmer takes on one of the faces where he grasps an enemy by the hair and prepare s to smash his skull with a mace, continue to be utilized from this time all the way through the Roman era

The Palette of Narmer was discovered in 1898 by James Quibell and Frederick Green. It was found with a collection of other objects that had been used for ceremonial purposes and then ritually buried within the temple at Hierakonpolis A ceremonial object, ritually buried

Iktinos and Kallikrates, The Parthenon, 447-432 BCE, Athens The Doric order emerged on the Greek mainland during the course of the late seventh century BCE and remained the predominant order for Greek temple construction through the early fifth century BCE, although notable buildings built later in the the Classical period—especially the canonical Parthenon in Athens— still employed it. Ionic capital, north porch of the Erechtheion, 421-407 BCE, marble, Acropolis, Athens As its names suggests, the Ionic order originated in Ionia, a coastal region of central Anatolia—today Turkey—where a number of ancient Greek settlements were located. Volutes, scroll-like ornaments, characterize the Ionic capital, and a base supports the column, unlike the Doric order. The Ionic order developed in Ionia during the mid-sixth century BCE and had been transmitted to mainland Greece by the fifth century BCE. Among the earliest examples of the Ionic capital is the inscribed votive column from Naxos, dating to the end of the seventh century BCE. - The sixth century BCE Temple of Artemis at Ephesus, a wonder of the ancient world, was also an Ionic design. In Athens, the Ionic order influenced some elements of the Parthenon, 447-432 BCE, notably the Ionic frieze that encircles the cella of the temple. Ionic columns are also employed in the interior of the monumental gateway to the Acropolis, known as the Propylaia, c. 437-432 BCE. The Ionic was promoted to an exterior order in the construction of the Erechtheion, c. 421-405 BCE, on the Athenian Acropolis,

The Ionic order is notable for its graceful proportions, which produce a more slender and elegant profile than the Doric order. The ancient Roman architect Vitruvius compared the Doric module to a sturdy, male body, while the Ionic was possessed of more graceful, feminine proportions. The Ionic order incorporates a running frieze of continuous sculptural relief, as opposed to the Doric frieze composed of triglyphs and metopes. - The Corinthian order is both the latest and the most elaborate of the Classical orders of architecture. This order was employed in both Greek and Roman architecture with minor variations and gave rise, in turn, to the Composite order. As the name suggests, the origins of the order were connected in antiquity with the Greek city-state of Corinth, where, according to the architectural writer Vitruvius, the sculptor Callimachus drew a set of acanthus leaves surrounding a votive basket (Vitr. 4.1.9-10). In archaeological terms, the earliest known Corinthian capital comes from the Temple of Apollo Epicurius at Bassae and dates to c. 427 BCE.

A ziggurat is a built raised platform with four sloping sides—like a chopped-off pyramid. Ziggurats are made of mud-bricks—the building material of choice in the Near East, as stone is rare. Ziggurats were not only a visual focal point of the city, they were a symbolic one, as well—they were at the heart of the theocratic political system (a theocracy is a type of government where a god is recognized as the ruler, and the state officials operate on the god's behalf). So, seeing the ziggurat towering above the city, one made a visual connection to the god or goddess honored there, but also recognized that deity's political authority

The flat top of the ziggurat was coated with bitumen (asphalt—a tar or pitch-like material similar to what is used for road paving) and overlaid with brick, for a firm and waterproof foundation for the White temple. The temple gets its name for the fact that it was entirely white washed inside and out, which would have given it a dazzling brightness in strong sunlight.

White Temple and ziggurat, Uruk

Uruk (modern Warka in Iraq)—where city life began more than five thousand years ago and where the first writing emerged—was clearly one of the most important places in southern Mesopotamia. Within Uruk, the greatest monument was the Anu Ziggurat on which the White Temple was built. Dating to the late 4th millennium B.C.E. (the Late Uruk Period, or Uruk III) and dedicated to the sky god Anu, this temple would have towered well above (approximately 40 feet) the flat plain of Uruk, and been visible from a great distance—even over the defensive walls of the city.

mastaba 1 chapel 2 false door 3 shaft into burial chamber 4 serdab ( chamber for statue of decease) 5 burial chamber

ancient Egyptians believe that they have two life energy, life sources; Ka & Ba. Ba is kind of the physical body, and the Ka is like so soul spirit. Actually, it's not, but we won't go all the details. Let's accept Ka as life energy. When somebody dies, they prepared the body after life. They want to keep the body for Ka. That is why they were the masters of mummification in thousands of years. They develop their skills and their knowledge. According to an ancient Egyptian, Ka has to have a body for which is actually you journey to the afterlife. Ka can not wonder around. That is why they put some small or life size statues in their tombs. If somehow something happened to the mummified body, then Ka can use the statue as a shell, as you see statues in those tombs are for ka. Depends on your rank, in society, you can have better, last longer statues with different size, you can you can have small or big one or 10s of them in ur tomb

Ancient Near Eastern Art has long been part of the history of Western art, but history didn't have to be written this way. It is largely because of the West's interests in the Biblical "Holy Land" that ancient Near Eastern materials have been be regarded as part of the Western canon of the history of art.

cities mentioned in the Bible (such as Nineveh and Babylon) inspired the original English and French 19th century archaeological expeditions to the Near East. These sites were discovered and their excavations revealed to the world a style of art which had been lost.

so many magnificent materials likes swords, daggers, jewelerie, drinking cups were found in Mycenaean graves. You see two items from two different graves in this picture. This one, uh, is a golden death mask, just like the death g raves in this picture. This one, uh, is a golden death mask, just like the death mask of King Tut. same tradition It is made with repousse technique. These bearded men sculpture is one of the first attempts at life size sculpture in Greece. And in here this dagger blade, depicts a lion hunt. The artist cut shapes out of a different color metals, metals like copper,silver and gold and in laid them in the Bronze Blade. All animals and hunters are in composite view when you look closely, you see the Minoan influence on human figures. Figures are in minoan style, with their pinched waist and the rhythmic and curvilinear lines. But the artist borrowed the lion hunt subject from Egypt and Mesopotamian art. All right,

dagger blade, depicts a lion hunt. Identify and explain the art work. What is the approximate time period in which it was made? Which civilization made it? Support your identification by discussing the style of the work. Write about the basic stylistic/technical characteristics of the artwork. (Ask these questions to develop a better answer; how do the figures look like? how do you describe them? Are there any pictorial conventions can you see on this image? Are there any technical or artistic style innovations or differences? Which technique did the artists use to create this work? Within what context did people use them? etc.) The piece of art displays a Mycenaean dagger which highlights a lion hunt within the various metals used. This dagger was found in a Mycenaean grave. The artist has put the art of the hunt within various color metals such as copper, silver and bronze within the bronze blade. Where then the figures have been depicted in a very Minoan style- in a curvular and rythmic way. Unlike a rigid, linear style. The animals and hunters have been put together in composite view, even though they have shared the lion hunt term from Mesopotamian art.

palette of King Narmer Palette of King Narmer Palette of King Narmer, from Hierakonpolis, Egypt, Predynastic, c. 3000 - 2920 B.C.E., slate, 2' 1" hig

difficult to interpret but vitally important Some artifacts are of such vital importance to our understanding of ancient cultures that they are truly unique and utterly irreplaceable. The gold mask of Tutankhamun was allowed to leave Egypt for display overseas; the Narmer Palette , on the other hand, is so valuable that it has never been permitted to leave the country what was the palette used for he object itself is a monumental version of a type of daily use item commonly found in the predynastic period — palettes were generally flat, minimally decorated stone objects used for grinding and mixing minerals for cosmetics. Dark eyeliner was an esse ntial aspect of life in the sun - drenched region; like the dark streaks placed under the eyes of modern athletes, black cosmetic around the eyes served to reduce glare. Basic cosmetic palettes were among the typical grave goods found during this early era - far more elaborate palettes created in this period. These objects still served the function of being a ground for grinding and mixing cosmetics, but they were also carefully carved with relief sculptures ( temple ceremonies )

Slide 19 - Andokides, Achilles & Ajax playing dice, bilingual amphora Italy - artisted used two different tecnique on same amphora same scene- Andokides is the artist andokides - invented of tecnique he left figures without covering of slip but the background front & back side of same amphora - left used black figure technique ( same work ) right side = same subject but technique of red figure ( artist doesnt use metal to scratch details on the pottery, they use brushes to add slip/ fine clay ) details are elegant & more realistic + its easier to apply - greeks - studied human anatomy - composite view, frontal view - naked female is taboo Euthymides, dancing revelers - red figure amphora italy women was considered a slave & she was naked Euphronio, Herakles wrestling Antaios red figure calyx, Italy ca 510 BCE Onesimos, Girl preparing to bath 490 BCE ( slide 22 )

greek architecture (SLIDE 23) 3 major orders culture, temples, treasure houses, public buildings or houses used different decorative system Doric order - column has 3 major parts capital - decorative part shaft - body = base- bottom rounded colums0- they have volutes on top of. the Stylobate small rectangular areas has heigraphic stature - triglyph

Sumerian art - " Standart of Ur" Iraq - 8x 1'7 2600- 2400 BCE ( sumer)

rich blue color emerges - 6000

Lion gate mycenae green Which detail of the Lion Gate reflects the influence of Minoan culture?= the central column Artist used heraldic composition on this sculpture. You can easily see the hierarchy in scale in this sculpture In this picture, you see the defense walls off the citadel and Mycenaean Main gate, so called lion gate. The gate consists of two, uh, huge monoliths and massive lintel frame. once held massive wood and metal doors above the lintel. There is a decorative, relieving triangle. They used a different type of rock, which is lighter than rest of the blocks on the wall. This was the largest sculpture in the Prehistoric Aegean. On this sculpture we see a heraldic composition, a pair of lions, which is a Mesopotamian culture influence, flank A Minoan style column. This column may symbolize the King's palace in his royal power.the central column

slide 11 some important archaeological evidence has come from their tombs, called tholos. tholos tombs are circular beehive shape vaulted structures and they often underground. More than one hundred tholos tombs have been found on mainland Greece. Tholos were generally constructed for members of ruling family. In this picture, you see a cutaway drawing of a tholos so called Treasury of Atreus. It calls in this way because when archaeologists discovered this this tholos, they thought it was a treasure building. It has a passage way about one hundred's fourteen feet long and twenty feet wide. Circular Main chamber is forty seven feet in diameter and forty three feet high. This chamber is formed by a corbelled vault. This stone ceiling buildup in regular layers of stone in overlapping and decreasing rings, carefully calculated to meet in a single cap stone at the top For over a thousand Mycenaean wall paintings show great influence of Minoan wall paintings. Figures are similar to the Minoan figures. Narrow waists, wavy or curly hair, tall figures are the common practices. Religious rituals, hunting scenes, soldier depictions, military parades are some of the wall paintings. Archaeologists found so many well decorated funerary objects in some tombs belong to the royal families or high ranked officials, soldiers etc. These funerary gifts are made of gold or silver that is why some people thought these structures should be treasury. Funerary masks, daggers, swords, shields, drinking cups, necklaces, rings, bracelets, vases etc. are some of the common funerary gifts that could be find in ancient civilizations graves. That is why, robberies always try to find an ancient tomb to get all these items since the bronze age! Leaving some gifts for the deceased person for his/her after life was a common practice in different civilizations. For example in ancient Greek culture, they put coins on deceased person' eyes. Those coins for the man who takes the souls to his boat to cross the Styx River (the river of the lost souls) of underworld. All civilizations have the after life belief and they believe people would use those items which were left in the tomb. These items' quality, materials, forms, types were different depends on the people' social status, their gender, age etc.

Mural paintings ( Fresco ) Tomb of Nebamun, thebes, 18th Dynasty 1400 - 1350 BCE Fresco - painting on lime plaster fresco secco ( dry fresco ) painting on dry lime plaster

the Egyptians were also masters of wall painting. They decorated their palaces, their temples, their houses and surely their tombs. This is a wall painting fragment from Tomb of Nebamun.Nebamun was a high ranked scribe. In this wall painting, he's enjoying recreation in his eternal life with his family. Notice his pose is thousands years old, smiting pose. He is the largest figure. Background is so crowded, so many animals, plants,fish everywhere. It is because of Egyptians don't like to have empty areas on their art. This fresco was done with Fresco Secco technique Artist covered he wall with lime plaster and wait until it gets it gets completely dry and then add all the all the painting. ******This technique allows the artist have so much time to work on this wall. All figures are in composite view High level of realism is for animals. Look at the right side of fragment. Hieroglyphs covers all the blank areas. These are some amulets and some good words for Nebamun

slide 3 Syros Woman 2600 -2300 BCE some art historians suggest they might be fertility figurine because of their pose, which is emphasizing the belly area with folded arms like pregnancy. A dominant triangle form on figurines, emphasizing the female body parts. But some other art historians have different theory, since those are found in or around the graves. And since these figurines cannot stand, possibly they were sculpted to represent the deceased body/bodies in graves. Identify the art work. Which culture does it belong to? What is the approximate time period in which it was made.= it is not Minoan artwork. It is from the Cycladic culture (neolithic) This piece of art was displayed as a woman where historians have suggested this sculpture displays a fertility figurine due to her pose. Her position has her hands wrapped around her stomach, which could indicate fertility/ babies. Another theory suggested the Syros Woman could have been placed and sculpted to represent the deceased bodies in graves.

slide 4 Minoan art knossos palace around six thousand BCE people from Asia Minor, which is today's Turkey, migrated to the island of Crete and around twenty five hundred BCE A rich Bronze Age culture, Minoan civilization became the dominant culture in Aegean sea. Uh, the term Minoan is not an ethnic but cultural designation. Archaeologist Sir Arthur Evans, who first discovered this civilisation around the beginning of the twentieth century, named it as Minoan because of the legendary king named Minos. In this picture, you see ruins of a big building complex known as Knossos Palace. Even though it is called as palace by archaeologists, it is not certain this multi functional, complex building were used as administered administrative commercial and the religious center. Uh, this complex was damaged by several earthquakes around seventeen hundred BCE and be part of this building, rebuilding and enlarged.

Minoean colums in Minoan architecture. Multistory buildings special like in Knossos Palace. Uh, we're supported with Wood Columns system, which is distinguished Minoan architecture. Uh, building materials were usually stone and clay, often with timber used for reinforcement. Minoans were the first civilization to use clay pipes for sanitation and water supply. Almost fifteen hundred years before the Roman Empire, according to archaeological excavations, minoans did not construct any defense walls or other fortifications

slide 6 Knossos Palace is also the richest source of the Minoan artwork, especially for frescoes. There are two dominant themes in Minoan paintings. Nature scenes and palace life. marine life, landscapes, religious festivals,processions, court ceremonies. Royal ceremonies are common paintings. It is important to note that there are no known artworks, which are devoted to military triumphs. Human figures on painting easily distinguishable if you compare with other civilizations from same region. Buddy forms reflect elasticity. Lines are rhythmic and curvilinear. Human figures have this characteristic. A pinched waist and long, curly hair, meaning one social structure reflects on their art. They have color code for gender segregation. Reddish brownish skin color is for male, while white or lighter colors reserved for female figures. Also, they have hair style segregation based on their age or social status.

Menkaure & Khamerenebty Gizeh, 4th dynasty Graywacke statue ( high relig ) 4'6 heigh 2490- 2472 BCE

statue of Pharaoh Menkaure and his queen Khamerernebty. He is standing with his wife, and she has one arm around him and one on his arm. He's holding to power symbols. One foot is forward, signifying that he is moving. His wife, however, is stationary. Stiff, fixed, stable and immobile posture, false beard, which is associated with god osiris. And Nemes the royal kilt and the power symbols masculine beauty are all the same characteristics of royal statues. The point of all this is to ake statues look monumental. Even if they are not necessarily large they can still look important and monumental. on a side note. Menkaure may not actually look like he is walking when his foot is put forward, but this is because in Egyptian art there is a complete lack of weight shift. The example is again Greek art. You can commonly see weight shift in these type of art but not in Egyptian art.

The function of Egyptian art

statues or relief, were designed to bene fit a divine or deceased recipient. Statuary provided a place for the recipient to manifest and receive the benefit of ritual action. - Many statues were also originally placed in recessed niches or other architectural settings — contexts that would make frontality their expected and natural mode. - whether divine, royal, or elite, provided a kind of conduit for the spirit (or ka) of that being to interact with the terrestrial realm - afterlife, flowers (symbols of rebirth), and incense (the scent of which was consi dered divine). ***********Royal and elite statuary served as intermediaries between the people and the gods.

Royal Family of Akhenaton sunken relief, Amarna 18th Dynasty - This is a sunken relief stele from Amarna period. Sunken relief s carved into the surface of the stone, leaving the surrounding surface untouched and higher than the sunken relief itself. In this stele, you see royal family of Akhenaten. It is a rule breaking stele. They don't look like royal. He is kissing his child. His wife is playing the other kids on her lap. Sun disk is on the top. They all have elongated bodies. He does not look masculine

sunken relief - carved into the surface of the stone leaving the surrounding surfaces untouched and higher than the sunken relief itself

text & image

text accompanied most images in statuary, identifying text will appear on the back pillar or base, and relief usually has captions or longer texts that complete and elaborate on the scenes. Hieroglyphs were often rendered as tiny works of art in themselves, even though these small pictures do not always stand for what they depict; many are instead phonetic sounds. Some, however, are logographic, meaning they stand for an object or concept

Mentuemhet Karnak, Granite statue 26th Dynasty ca. 660 - 650 BCE

the last picture belong a governor statue name is Mentuemhet. notice It's date. 2000 years after Khafre or Menkaure? Almost nothing changed. posture, same symbols, same skirt, same everything. Next picture, you caSame compare three different statues from three different times. You will see how Egyptian art is so traditional and has very strong ties with its religion

Introduction of Prehistoric Aegea and Early Cycladic Period

the mediterranean was one of the primary highways that connected the cultures of antiquity, with north africa on the south, asia on the east, Europe on the west & north, this body of way brought disparate cultures into contact for both trade & conflict - the greeks named one branch of the Mediterranean, between Greece & Turkey, the Aegean Sea - Cycladic culture emerged on the islands forming an irregular circle between the Greek mainland & the island of Crete - divide the Aegean Bronze Age into three phases - Early, Middle and Late - distinct art forms ( stylized marble representations of the human figure + 2800 BCE - islanded started to bury their dead in stone lined pits sealed with stone slabs know as CIST Graves "Frying Pan" - from Chalandriani, Early Cycladic II Cycladic idols = central role in religion which. focuses on mother goddess - funerary purposes ( servants or surrogates for human sacrifice) OR household shrines? provenance - where & how they were found & their subsequent history

Ancient Egypt Art Basics

the somewhat static, usually formal, strangely abstract, and often blocky nature of much Egyptian imagery has, at times, led to unfavorable comparisons with later, and much more 'naturalistic,' Greek or Renaissance art. However, the art of the Egyptians served a vastly different purpose than that of these later cultures - art was not meant to be seen - , it is imperative to remember that the majority of these works were never intended to be seen — that was simply not their purpose ( Art not meant to be seen While today we marvel at the glittering treasures from the tomb o f Tutankhamun, the sublime reliefs in New Kingdom tombs, and the serene beauty of Old Kingdom statuary, it is imperative to remember that the majority of these works were never intended to be seen — that was simply not their purpose. Painted sunk relief of the king being embraced by a goddess. Tomb of Amenherkhepshef)

Ancient Egypt

water is life, life is water mesopotamia means the land between the rivers catalhoyuk people built their home next to river Jericho people built their villages next to river. Nile river is so important to Egyptians ( life for an egyptian ) upper & lower egypt = elevation is higher ( upper ) . Mountainous area called Upper Egypt and flatter and lower are culture differences between upper & lower egyptians . Mountainous area called Upper Egypt and flatter and lower area called lower eygpt Two different pharaohs used to rule on these two different Egypt. Even though, basics of their culture and their mythology was same - they used different attributes and symbols until these two kingdoms got UNITED THere are so many different symbols to separate Upper Egypt from lower