Objects as History Final Exam
The relationship of David's Oath of the Horatii to Enlightment thought and Classical art is that it showcases the virtues of stoicism, courage, masculinity, and patriotism. Specially patriotism, in which is valued above personal interests.
Explain the relationship of David's Oath of the Horatii to Enlightment thought and Classical art.
The Mamluk Glass Oil Lamp is a luxury art from Cairo, Egypt made out of blown glass, polychrome enamel and gold. The techniques on glass-blowing come from the thirteenth and fourteenth century, where Mamluk glassmakers in Egypt and Syria imparted an elegant thinness to their vessels using this technique as well as molding.The colors blue, red and gold enamel are used as decoration and they were added by reheating the painted vessel. The object has a quotation of the Qur'an on the flared neck, "God is the light of the heavens and the earth. His light might be compared to a niche that enshrines a lamp, the lamp within a crystal of star-like brilliance," as well as an identification of the patron Sayf al-Din Qawsun. The object has symbols including the emblem of a cup — also a medallion called blazon — which identifies the commisioner of the lamp as the cup-bearer to the sultan. The lamp can stand on its footed base but it also includes six handles formed of attached loops of glass.
Choose a luxury work of art discussed in this chapter and identify and explain the materials and techniques with which it was made.
The Bowl with Scorpions was made by the Mimbres/Mogollon culture that flourished in the mountains of south and west-central New Mexico as well as east-central Arizona. The Bowl was made to be used in social life, probably everyday subsistence activities; however, it could also serve as a ritual when someone passed away — the act of piercing the bowl and placing it over the head of the deceased allowed the spirit of the dead to escape the body. In the context of observing the piece in a museum installation, though, once can notice that the culture focused most of its art in pottery, and the design as geometric, realistic. One can also notice the number of themes, which in this case is the representation of scorpions which must have a specific purpose in tthe Mimbres/Mogollon culture.
Choose a native North American work that was made to be used in social life or ritual. Explain the difference between its form and meaning while in use and while observed in the context of a museum installation.
The Finial of a Spokesperson's staff, from the Ashanti culture, Ghana, is one of the artworks that was made for a political leader. It is made out of wood and gold, which is relevant to notice since it symbolizes the importance of the leader. Also, gold was a major source of power for the Ashanti people, which again illustrates the status of its patron. Furthermore, the artwork is an allegorical carving of a man holding an egg. Among the Ashanti people of Ghana, the egg represents the political power, "grasp it too tightly and it will shatter in your hand, but hold it too loosely and it will slip from your fingers," which relates to the political aspirations of this culture at the time.
Choose a work in this chapter that was made for a political leader and discuss how its form and meaning relate to the political aspirations of its patron
The Shakyamuni Buddha is a sculpture from Pakistan made around the second and third century. This sculpture — made of gray schist, and 120.7 cm tall — has an important role in Early Asian art since was one of the first images of the Buddha himself. As viewers, we can recognize the character because of his shared visual characteristics: a simple monk's robe, distended earlobes, top of his head resembles a bun, and between his eyes is the urna. All of these characteristics allow us to identify the figure as an early representation of Buddha.
Choose an early Indian image of the Buddha and discuss the specific features that allow you to identify him as the subject
While both sculptures illustrate Greek's Ancient context with dying warriors, in the Temple of Aphaia; they differ in location, portrayal of subject, and style. Figure 5-16 is located on the west pediment of the Temple, while the other sculpture, figure 5-17 is located on the left corner of the east pediment. Both sculptures portray a fallen warrior struggling to rise up; however, the first sculpture is tragig but noble, and it is extracting an arrow from its chest even though death is certain. Although it is also a fallen warrior struggling to rise up, the second sculpture differs from the first one because the body is twisted — capable of turning in space — and it has a sense of softness as well as a greater sophistication in tailoring bodily posture. In addition, while the subject is the same, the portrayal of emotions is different. Figure 5-16 is noble and lacks emotion, while figure 5-17 show sthe warrior's agony and vulnerability, which shows the transition from Archaic toward Early Classical art.
Compare the approach to representing the male nude in the two dying warriors from the pediments of the Temple of Aphaia in Aegina. How are they similar and how are they different?
While both art pieces portray important figures in ancient Egypt, their subject, style, and technique of the reliefs differ. The tomb of Ramose, the subject is Ramose's brother and hiw wife Urel. They are both portrayed in youthful perfection, as a majestic couple, and the only thing with color is their eyes. The style and technique of the reliefs from the tomb include the use of texture to differentiate skin with hair and cloth, as well as the use of linear fluidity which leads to elegance and a sense of three-dimensionality. In the second figure, although it also depicts an important figure, the subject, style and techniques differ. In this case, the subject is Akhenaten and his family. They are portrayed in a different scale and facing each other, compared to the tomb of Ramose. Their facial features are somewhat distorted and exxagerated, their bodies do not appear firm, there is a portrayal of behavior in the children and the parents as well as emotions. Also, compared to the tomb of Ramose's style and techniques, in this piece the technique of sunken relief is used — where the original flat surface is reserved as background and the outlines of the figures are deeply incised — which leads to a different three-dimensional sense.
Compare the subject, style and technique of the reliefs from the tomb of Ramose in figure 3-18 and the time of Akhenaten
The Great Mosque in Cordoba, Spain, and the Sultan Selim Mosque in Edirne, Turkey, are two mosques from different parts of the Islamic world. Both of them include a dome, The Great Mosque with a melon-shaped ribbed dome over intersecting arches, and the Sultan Selim Mosque a gigantic hemispheric dome more than 102 ft in diameter. However, while both have the domes in common and are part of the Islamic world, they differ on architectural design. The Great Mosque has marble columns and capitals in the first hypostyle prayer hall were recycled from the church and local ruins of classical Roman buildings, as well as the horseshoe arches. Also, it includes red and white stone, which adds alternative colors and texture. Furthermore, it has lushly patterned mosaics with inscriptions, geometric motifs, and stylized vegetation clothe both this dome and the mihrab below in brillliant color and gold. In contrast, the Sultan Selim Mosque is known for being larger than the dome of Hagia Sophia, and it has complementary buildings which include a school, library, theological college, cementery, and hospital. It is also known for its minarets that pierce the sky around the prayer hall of the mosque. While both serve an important role in Islamic architecture, they differ in design and colors partly because of different locations which were ruled by different Empires that had specific architectural design.
Compare two mosques from two different parts of the Islamic world. What do they have in common and how do they vary? why?
Woodcut is the oldest form of printmaking, and is a relief method first used by the Chinese. This method is made by cutting along the grain of the flat surface of a wooden board with a knife. Similarly, wood engraving is another relief method; however, it differs from woodcut since it uses the end sections of the boards instead of the flat surface. Artists would choose wood engraving over woodcut if their goal is to incise thin lines that are extremely detailed and fine or if they prefer yielding a hard, non-directional surface.
Describe the difference between woodcuts and engravings. Why would an artist choose one over the other?
Julius II's efforts to use art and architecture to create a new golden age of the papacy starts with his commission to Raphal as an artist. Julius II wanted to create an ideal setting for papal activities by proclaiming the power of divine wisdom and commissioning both Raphael's works Stannza Della Segnatura and School of Athens to portray this message. These pieces reflect pictoral allegories that highlight themes of theology, philosophy, justice and the arts as well as ideals of Classical grandeur and faith.
Discuss Julius II's efforts to use art and architecture to create a new golden age of the papacy. Your answer should focus on two specific works he commissioned.
To a great extent Roman emperors used public monuments as imperial propaganda, whether to accentuate the emperor's divine image or to portray important historical events. Some of the most recogizable imperial propaganda are from The Age of Augustus, which includes the Augustus of Primaporta and the Altar of Augustan Peace. In the Augustus of Primaporta, the emperor Augustus used portraiture as political propaganda. The statue is over-life-size, and the emperor is wearing a ciurass —portrayal of defeated barbarians — which accentuates the glory, victory and image that the emperor wanted to be seen as and remembered. It also resembles Greek heroic figures like Polykleitos's Spear Bearer, and focuses on the physical prime of the emperor's youth, instead of his advanced age. Similarly, the Altar of Augustan Peace is used as imperial propaganda. This public monument was made to commemorate the emperor's triumphal return to Rome after their victory in Gaul. Just like his statue, emperor Augustus wanted to highlight victorious historical events in the Altar in order to increase a sense of nationalism and to establish a glorious image of him.
Discuss how Roman emperors used public monuments as imperial propaganda, focusing your discussion on two specific examples included in this chapter.
The Lyre with Bull's Head is made out of wood, gold, lapis lazuli, and shell. These precious materials are used to create a pictoral narrative that captures the culture and values of Sumerians, and they also serve as symbols — the use of gold for the Bull's Head might represent an image of God, and the lapis lazuli must represent wealth since it was a product imported from another country, and not that accesible. The scenes illustrated in the piece include the Epic of Gilgamesh, feasting, and musical ensemble. These stories relate to the Sumerian culture since it portrays a narrative filled with their beliefs and values, including the use of animals as part of their beliefs on life, death, and hierarchy, as well as the pictoral narrative of the poem, which highlights their traditional oral culture.
Discuss how precious materials are used in the Lyre with Bull's Head from Ur. How do the stories recalled by scenes on the lyre relate to the culture that produced it?
Velazquez's piece, Las Meninas, has a particular portrayal of space. He differentiates foreground and background with the use of layers, apppearance of light and shadows that reflect from surfaces (values of gray). He suggests the extension of pictoral space with a narrative and visual complexity that includes a background mirror, elevated figures, and contrasts of real and mirrored spaces in the same frame.
Discuss the complicated portrayal of space in Velazquez's Las Meninas. How does this paintor differentiate foreground and background? How does he suggest the extension of pictoral space to include the area in front of the picture plane?
The representation of the human figuere in ancient Egypt is one of the mayor factors that characterizes them as a culture. Using the Palette of Narmer as an example, the representation of the human figure is based on hierarchy scale, as it is evident on the illustration of Narmer size compared to the rest of the figures. Also, it is rooted in religious beliefs and practices, which we can see through the depiction of the God Horus as well as the blank ground that does not distract the image of Narmer. In addition, symbology is fundamental for the representation of the human figure. The use of the White Crown of Upper Egypt as well as the man's head attached to the block give a narrative — Narmer, ruler of Upper Egypt, controls the Lower Egypt — which is common in ancient Egypt's art. Finally, other convention for representing the human figure includes the depiction of royalty and other dignitieries, which include the use of frontal or side views of the person. Heads, hips, legs, and feet are in profile to identify key features, while the eyes, shoulders, and torso are depicted frontally, which symbolizes their wealth and royalty.
Discuss the conventions for representing the human figure in ancient Egypt, using the Palette of Narmer as an example
The development of portraiture, still life, and genre painting in the Dutch Republic during the seventeenth century are important for the understanding of the culture at this time. Portraiture, for instance, was popular because it ranged from single individuals to allegorical depictions in symbolic contexts. Still life and genre painting apply to their everyday life and it evoked emotion through symbology — it caused people to gain religious faith and it told stories.
Discuss the development of portraiture, still life, and genre painting in the Dutch Republic during seventeenth century. What accounts for the increased importance of these subjects at this time?
The Bronze Doors that Bishop Bernward commissioned for the abbey churchi of Hildesheim serve an important role in both Ottonian art and the entrance to the church. These doors show relief images from the Bible, on the left side from the Hebrew Bible, and on the right the New Testament. These images are appropiate for the entrance to a church because it reflects a monumental image cycle by pairing the event from the Hebrew Bible, which is meant to represent a prefiguration of or complement to the adjacent New Testament event. From the creation of Eve at the top to Cain's murder of Abel at the bottom, and from the annunciation at the bottom to the Noli me tangere at the top, these scenes encompass important religious passages that make it appropiate for the entrance to a church.
Discuss the subject matter of the bronze doors that Bishop Bernward commissioned for the abbey church of Hildesheim. Why is it appropiate for the entrance to a church?
Domestic environments, as portrayed in Mérode Altarpiece, have several objects that symbolize fiftheenth century culture and beliefs. For instance, the mousetraps Joseph is making refers to the coming of Jesus and how he's duty will be to trap the devil. Also, the fire protector reflects Mary's innocence and protection from evil, just as the hanging water pot represents her purity and role for the Holy Spirit. Finally, the lillies on the tably illustrate Mary's virginity.
Discuss the symbolic meanngs that fifthteenth century viewers would have comprehended in the objects contained in the domestic environments of either the Mérode Altarpiece (12-3) or the Arnolfini double portrait (12-1). How have the artists made these objects look so real?
The type of sculptures integrated into Romanesque buildings was found at medieval towns, as well as in capitals of interior and exterior columns, and spread all over the building in what is known as "speaking façades." The sculptures were designed by the stone sculptors to take the central messages of the Christian church out of the sanctuary and into public spaces of medieval towns.
Discuss the type of sculpture that was integrated into Romanesque buildings. Where was it located? Why was it there? What sorts of messages did it convey to medieval viewers?
The Temple of the Feathered Serpent was one of Teotihuacan principal monuments located in the Ciudadela, known for its commerce and manufacturing. This Temple captures their spirituality found in nature, and served as a representation of life and death together, which is part of their beliefs, as well as a place for public and private ritual. It also served as a political center, since the political, religious, and civic center were the elite that lived closest to it, and was a hierarchical, semi nomadic society ruled by priests and kings. The representation of the Storm God and the Featheres Serpent in the Temple symbolizes regeneration and cyclical renewal, which at that context may serve for representing wet and dry seasons as well as their ritual calendar.
Explain the original function of an ancient building from Mesoamerica by situating it within its broader sociocultural context
Masks are among the best-known works of African art since they are central in both ritual performances and major transitions in human life. The Bwa culture, for instance, use masks when young Bwa men and women follow the onset of puberty and enter to the period of adulthood — and these masks, which represent a specific spirit, also represents them. In contrast, the Kuba people uses masks for funerary purposes. They perform funerary masquerades to honor deceased members of the men's initiation society and high-ranking individuals who belonged to the community of elders. In this culture, just as the Bwa culture, the masks embody the power of nature spirits — which in funerary practices is incredibly relevant.
Explain the role of masquerade in African art by discussing the use of masks in two rites of passage: the initiation rites of the Bwa culture and the Kuba funeral ceremony
The Abbey Church of Saint Denis is one of the most important innovations in the History of architecture since it became the first Gothic church. Structurally wise, it is innovative by providing pointed arches, green groin vaults, external buttressing that relieves stress on tall walls. Similarly, the style is also innovative since it was the first time an architectural whole emphazised open, flowing space, enclosed by non-load-bearing walls of colorful, glowing stained glass. In conclusion, the Abbey Church at Saint-Denis with its avant-garde structure and style, provided an architectural model for cathedrals and abbeys of northern France, England, and other European countries.
Explain what you think are the most important innovations — structural and stylistic — that earned the Abbey Church at Saint-Denis the reputation as the first Gothic church.
Albrecht Dürer's painting, "Fout Apostles," although following Northern tradition features, it had a great influence from Italian art. Instead of stylized figures and unrealistic clothing folds, Dürer used Italian Classical proportions as well as Roman portraiture. His use of detail and soft shading are characteristic of Italian art, which focused on life-like detail and attention.
Explore the impact of Italian art and ideas on the work and self-image of German artist Albrecht Dürer. Focus your answer on one specific work, discussing its Italianate features but also the ways it maintains key aspects of the Northern tradition.
Head of Augustus Period:Roman Period, Augustus Reign:reign of Augustus Date:27 B.C.-A.D. 14 Geography:From Egypt; Possibly from Memphite Region, Memphis (Mit Rahina) Medium:Faience This small head is thought to depict the Roman Emperor Augustus. Based on Roman prototypes for his portrait, it is dated to the earlier part of his long reign. Egyptian influence may be present in the suggestion of loose flesh beneath the prominent cheekbones. The original context of the head is uniknown, but Memphite provenance would reflect the importance of the traditional religious capital in Augustus's political domination of the country. A cult of Augustus existed there, and the High Priest of Ptah of Memphis, the most important official in the country's traditional religious structure, was chosen as its chief officiant, the "prophet of Caesar." This appointment was surely intended to encourage the cooperation of the country.
Head of Augustus
Roman portraiture is characterized by their extremely and strictly naturalism, and this strong emphasis on the exact reproduction of human beings began in early funeral rituals. Once the person passed away, the Romans would do a ceremony giving a mask that reproduces the individualized features and complexion the person had during his lifetime. Furthermore, Romans' interest in portraiture grew out on public occasions, where the realist representation of figures and distinguished ancestors for display were extremely important.
How did the Roman interest in portraiture grow out of early funeral rituals?
While in Ancient Greek art the forms were focused on human anatomy, the relief sculptures from the altar to Zeus from Pergamon depart from Classical norms in several ways. First, the relief sculptures from Pergamon show the torsos twisted in action as well as their muscles in movement, which departs from Classical norms were sculptures are idealized and static. Also, in these relief sculptures one is able to identify emotions or dramatic features like despair, anger, agony, which again departs from the classic sculptures that do not portray emotions, only the human anatomy. Furthermore, Pergamene sculptors balanced opposing forces along diagonal lines, while Classical Greek artists used a grid of horizontal and vertical lines.
How do the relief sculptures from the altar to Zeus from Pergamon depart from Classical norms?
Both relief sculptures depict the dominance of the two Assyrian rulers in Mesopotamia as well as part of Egypt. In figure 2-11, the sculpture has a more violent imagery than in figure 2-12. This sculpture illustrates Assurnasirpal II attacking a lion, as well as his horses killing the other lion — this depiction characterizes the Assyrian ruler as dominant, brave, and most of all, illustrates the Assyrian belief of being superior than others. On the second sculpture, the Assyrian ruler Assurbanipal is depicted quite differently. The sculpture portrays him and his queen relaxing in the pleasure garden, which characterizes the social hierarchy and royal life at that time. This sculpture demonstrates a victory celebration, which just as the other sculpture, illustrates the Assyrian dominance.
How do the relief sculptures in figures 2-11 and 2-12 characterize the two Assyrian rulers who built the palace complexes for which they were made?
Images and mosaic decoration revolved around the theme of Eucharist, which symbolized the theme of offering. In Byzantine worship, the idea of offering was relevant because at the core of Christian ceremony the substances of bread and wine became emblematic of his offering of himself on the cross for their redemption. Furthermore, images were thought to act as intermediaries between the worshipers and the holy personages they depicted. Images were suppressed during iconoclasm — the prohibition and destruction of visual art considered inappripiae in religious contexts — for several reasons. One theory is that church leaders feared that the use of images in worship could lead to idolatry or distraction from spiritual practice. Another theory is that there was anxiety in relation to the weakening state of the empire with the advances of Arab armies in Byzantine territory as well as the rivalry between icons and the state in both strength and wealth.
How were images used in Byzantine worship? Why were images suppressed during iconoclasm?
French King Louis IX commissioned various works of art, including the rose window and lancet in the Chartres Cathedral, which was a gift and the Royal heraldic emblems secure the window's association with the King and his powerful mother — and with sun light, the theological and political messages of the rose window shine clear. He also commissioned the Sainte-Chapelle, to house the kings collection of relics and that includes windows with biblical kings, and it gave him his own sense of the sacred underpinning of his kingship. Furthermore, he commissioned the Moralized Bible, in which the dedication page shows the young King and his mother to emphazise their elaborate thrones and wealth. All of his commissioned works of art encompass his ability to manifest an appreciation of material luxury and royal elegance.
Identify the three works of art in this chapter that were commissioned by French king Louis IX. Discuss their relationships to his political life and aspirations.
Landscape painting during the Song dynasty encompasses Neo-Confucian ideas on achieving union with the Great Ultimate. These paintings do not record a specific site, rather the essence of a landscape — the desire for spiritual communion with nature as a key to enlightment — and human profound feelings. In Fan Kuan's Travelers Among Mountains and Streams, these features are evident. The composition of the painting unfolds in three stages: a low-lying group of rocks as the foreground, the travelers and mules on the right as the middle ground, and the mountain as the background. The meaning of the painting goes along its form, the foreground anticipates the mountain and introduces the main theme of the work. The middle ground shows the variation as well as development of the piece, and the background which is twice as large as the others represents the climax. Overall, the painting is not about reflecting a mountain, but rather the feeling of climbing a high mountain, leaving the human world behind to come face to face with the Great Ultimate in a spiritual communion, along with other Neo-Confucian ideas.
Use a discussion of Fan Kuan's Travelers Among Mountains and Streams to outline the principal features of Song dynasty landscape painting, both its form and meaning
The ritual objects, celestial diagram, and sacrifice of Isaac not only reflect the nature of Jewish beliefs and values, but also represent the style of early Jewish art. The mosaic pavement of the Beth Alpha Synagogue is designed on the model of Roman basilicas — central nave flanked by aisles, semicircular apse enclosing the Torah shrine — and decorated walls and floors, which in this case is the floor of the Synagogue. The story of Isaac also resembles the Roman tradition of epic historical representation, which is associated with early Jewish art.
What does the style and subject matter of the mosaic pavement of the Beth Alpha Synagogue tell us about the nature of early Jewish art?
Stupas began in India as solid dome-shaped structures where Buddhist relics could be found, which later evolved to a multistoried form during the Kushan dynasty. Meanwhile, Buddhism spread northeastward along the Silk Road, and during the Han dynasty in China, Chinese adopted several features of stupas and incorporated to their own architectural structures. The multilevel stupa in India was merged with the watchtower in China, which led to the creation of pagodas — the multistoried structures with projecting tile roofs. The merging of both architectural structures is evident while comparing the Great Stupa, in India, and the Great Wild Goose Pagoda, in China. Both the stupa and pagoda share the essence of simplicity, symmetry, proportions, and grace; however, their differences in shape and design reflects the relationship between Chinese pagodas and Indian Buddhist stupas.
What is the relationship between early stupas in India and later pagodas in China? Build your answer on a discussion of two specific examples, a stupa and a pagoda
In Angelica Kauffmann's history painting of Cornelia, the artist illustrates both an incident from ancient Republican Rome and a moral lesson —the glorification and idealization of the "good mother." Similarly, Marie-Louise-Elisabeth Vigee-Lebrun's portrait of Marie Antoinette shares a moralizing theme. It is a piece of royal propaganda, and the depiction of the queen as the "good mother" — just like in Kauffmann's piece. This portrayal of Marie Antoinette represents the ideal expouded by Enlightment philosophers, who believed that men and women should conform to the roles assigned to them by nature.
What moralizing theme is shared by Angelica Kauffmann's history painting of Cornelia and Marie-Louise-Elisabeth Vigee-Lebrun's portrait of Marie Antoinette? How is it expressed by these artists in two different types of painting?
The Taj Mahal, the most famous Indian Islamic building, was built between 1631 and 1648 in the bank of the Yamuna River at Agra in Northern India. It was commissioned as a mausoleum for the wife of emperor Shah Jahan, and many aspects of the building derive from their Islamic traditions during the Mughal period. These aspects include the use of arches and domes, indigenous virtuosity in stone carving, fruit trees and cypresses, which symbolize life and death, overall evocation of paradise as described in the Qur'an, geometrical symmetry, portals framed with verses from the Qur'an inlaid in black marble, and spandrels decorated with floral arabesque inlaid in colored semiprecious stones.
Which aspects of the Taj Mahal derive from the Islamic traditions introduced into India during the Mughal period?
