ART CARDS- continued (study tool-not checked)

39. House of Vettii, Pompeii, Italy. Imperial Roman. 2nd century BCE; rebuilt 62-72 CE. Cut stone and Fresco

(more images required wall paintings shown); Form: two atria, peristyle, impluvium; later Roman architecture and artistic style; columns all around (peristyle); wall paintings- feature angels, religious offerings, *Room of Pentheus- weighing his genitals compared to weight of money; very explicit; baby hercules is featured on wall painting (more in content Function: shelter, daily rituals and social hierarchy Content: King Pentheus was jealous of Dianisus (Greek god of wine and revelry); Balcus rips him apart and Pentheus wanted revenge (revenge shown on wall painting) Context: Pompeii; patrocenium; vetii- used to be slaves- can only reach certain social status, but they reached greatest height with patronage (wine merchants); very important relationship between clients and patrons (patrons protect and clients support) Themes: domestic space, patronage, social hierarchy, human figure Terms: patronage, atrium, inpulvium, peristyle

204. The David Vases. Yuan Dynasty, China. 1351 CE White Porcelain with cobalt-blue underglaze

Form: white porcelain with cobalt-blue underglaze,; doaist symbols at top- in doaism phoenixes and dragons go together Function: sat at doaist temple with altar (incense burner is gone) Content: There are dragons, handles are elephants, fenixes (birds), floral patterns; long neck, wide body, tapers at bottom Context: becomes white after fired; cobalt blue- imported and trade for on silk road; british chinese art collector- named by Themes: ceramics, Terms: Doaism, Pheonixes

55.Lindisfarne Gospels: St. Matthews, cross-carpet page; St. Luke portrait page; St. Luke incipit page Early medieval (Hiberno-Saxon) Europe. C. 700 CE Illuminated manuscript (ink, pigments, and gold on vellum).

FORM: two different scripts used (latin script-half uncial, english- ango-saxon minescol); naturalistic detail of a cat in luke insipid page; made of 130 catskins FUNCTION: manuscript CONTENT: first four texts of gospel; written in latin, with annotations and Greek letters; symmetrical design with black background; dog headed snakes, with birds intermixed with long beaks (ANIMAL STYLE)- celtic imagery and christian theology; Saint Lukes- traditional symbol associated with saint luke is a calf- known as mago vitulli in latin- greek words with latin characters- saint luke sits with legs crossed holding a scroll; ST Luke Insipid page- from the book of lendensfar- depicts quoniam quidem, numerous celetic spiral ornaments painted in the large cue and step parts in the enlarged bow; eight birds and naturalistic cat- incomplete manuscript page bc all the letters have not been filled in CONTEXT: made by individual artisans; oldest surviving manuscript in English THEMES:manuscripts, nature TERMS: vulgate- st jerome's translation of the bible, animal style

52. Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isodorus of Miletus. 532-537 CE Brick and ceramic elements and mosaic veneer. Byzantine. (3 images)

FORM:halo effect from windows; support system of dome is pendentives FUNCTION: Now a mosque but it was originally a christina church (for justinian and empress theodora) CONTENT: plain exterior with little decoration; 40 acres of gold mosaics on the walls; many windows; walls are flat and thinly decorated; columns were appropriated from Rome, Ephesus, and other greek sites; capitals w/ deeply cut acanthus leaves; emphasis placed on the space below the dome instead of the altar; central and axial plans CONTEXT: in 15th century was converted to a mosque; in 1935 converted to museum, in 2020 they said it will convert back to a mosque THEMES: architecture, sacred spaces TERMS: pendentives

190. The Court f Gayumars, folio from Shah tahmasp's Shahnama, Sultan Muhammad. C. 1522-1525 CE. Ink, opaque watercolor, and gold on paper

Form Shows harmony between man & landscape Minute details do not overwhelm harmony of scenery Function Depicting a secular/mythological scene, rather than religious scene Figures and animals ok because it is not religious Content Excerpt shows first king, Gayumars, enthroned before his community On the left is his son Siyamaki On the right is his grandson Hishang His court appears in a semi-circle below him His court are all in court attire, for example wearing leopard skins Context The angel, Surush, tells Gayumars that his son will be murdered by the Black Div The Black Div is the son of the demon Ahriman A page from the Shahnama, translating to the "Book of Kings" Shahnama is a Persian epic poem by Firdawsi Shahnama tells the history of Persia The whole book contains 258 illustrated pages

210. White and Red Plum Blossoms. Ogata Korin. C. 1710-1715 CE ink, watercolor, and gold leaf on paper (2 images)

Form**: river: lots of movement with swirled brush strokes; Oga tok corinne- paint different color on top of wet color of paint (watercolor); trees are frontal Function: japanese screen dividers for room Content: river and trees flowering; this painting is split in half Context: paint was applied by dotting(form); Korin founded the Rinpa School and style of Painting Themes: watercolor, multipanel painting Terms: Rinpa style

65. Alhambra. Granada, Spain. Nasrid Dynasty. 1354-1391 CE Whitewashed adobe stucco, wood, tile, paint, and gilding. (4 images)

Form: Every single space covered with decoration Extensive use of rhombus geometric forms and calligraphy Most of the interior arches are false arches, with no structure; they are there only to decorate. Built on a hill overlooking the city of Granada Walls are covered with beautiful and extremely rich ceramics and plasterwork. Walls include intricately carved wooden frames "muqarnas" hold up ceiling in Hall of Kings mocarabe vault can be seen in Hall of the two sisters Comares Palace wall Function: 3 Purposes Citadel, Barracks (alcazaba Residencepalace of the Nasrid sultans Medina (the city) Connected by pathways and gardens, all of which could be blocked off Palace of the Lions Hall of the Sisters Sixteen windows at the top of the hall allow in light through a honeycomb of stalactites Used for receptions or as a music room 5,000 muqarnas reflect light Cross-Cultural Comparisons: Interiors House of the Vettii Wright, Fallingwater Hall of Mirrors, Versailles Content: Contains palaces, gardens, water pools, fountains, and courtyards Three PalacesComares Palacearched grill allows in lightwalls covered with inlaid tile in geometric patternsSalón de Comares hall of the ambassadorsthe Palace of the Lionsseparate building that was connected laterarched covered patio encircles the marble fountain at the centercontained residential halls with star motifsthe Partal Palaceknown as the portico because of its portico in the center of an arcade and at the edge of a poolGeneralifefrom the Arabic, Jannat al-arifameans paradise, gardenvegetable and ornamental elements contribute to the paradise of the garden Partal Palace and Generalife Context: Alhambra is an abbreviation of Qal'at al-Hamra meaning red fort. Built by the Nasrid Dynasty (1232-1492)the last Muslims to rule in Spain. Muhammad ibn Yusuf ibn Nasr (aka Muhammad I) founded the Nasrid Dynasty in 1237 Palace of the Lions built by Muhammed V Exterior-Interior relationshipImportant transition seamlessly fromshaded patios and covered walkways from well-lit interior spaces to courtyards and gardens Ornamental elementsreflection of water intricately carved stucco decoration. Beautiful, detailed, and careful attention to detail Sources:https://www.alhambradegranada.org/en/info/artisticintroduction.asphttps://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/the-alhambra

207. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. C. 1480 CE; current design most likely dates to the 18th century. Rock garden. (3 images)

Form: 15 rocks, only 14 can be seen from any one angle; overall shape of temple is circular, so people can walk around it Function: temple Content: rock garden- people would meditate and self-reflect by the wet garden; dry garden symbolize metaphysical concepts; gravel= water, rocks= mountains, minimal use of plants Themes: sacred space; meditation, Buddhism Terms: Ryoan-ji=temple, circumambulate,

205. Portrait of Sin Sukju (151701475) Imperial Bureau of Painting. C. 15th century CE; Hanging scroll (ink and color on silk)

Form: ink and color on silk Function: honorific portrait; hung in the family's shrine (ancestor worship)- brings honor/status on the family Content: Sin sukju is important- he is wearing a robe with 2 birds and flowers, wearing a hat, feet aren't touching the ground- footstool, honorific pose- in a chair- seated Context: rank badge; he got the honor because he helped create the alphabet Themes: portrait Terms: rank badge-

172. Power Figure (Nkisi n' kondi). Kongo peoples (Democratic Republic of the Congo) c. late 19th century CE wood and metal

Form: insertion of nails or blades; often lick the end to seal the function Function: meant to heal people Content: similar to vudu dolls; spirits embedded in the image ; represents a person's soul- medicine is inside (bilanggo)- seeds for replication, white soul from cemeteries to call on ancestors; wide eyes Context: These were destroyed by missionaries Themes: healing, ritualistic Terms: bilango;

196. Gold and jade Crown. Three Kingdoms Period, SIlla Kingdom, Korea. 5th to 6th century CE metalwork Gold and Jade.

Form: jade- symbolizes- skill from artist/LONGEVITY, IMMORTALITY + Gold= wealth Function: funerary- (for afterlife) Content: gold is hammered super thin, dangling "leaves" Context: tied to nature- references to nature in that it has Theme: Metal work Terms: jade, funerary

114. Nadar Raising Photography to the Height of Art. Honore Daumier 1862 C.E. Lithograph

-1862 court decision- photography is an art form protected by copyright law -makes fun of nadar- in an attempt to get a shot, nadar appears about to fall out of balloon when trying to capture picture -every building has the word- "photography" on it

106. Y no Hai remedio (And there's nothing to be done), from los desastres de la guerra (The disasters of war), plate 15. Francisco de goya. 1810-1823 CE Drypoint etching

-and there's nothing to be done from the disasters of war -mangled body on ground emphasizes sense of despair -ambiguity is purposeful in which the people in the back are citizens or soldiers

117. The Horse in Motion. Eadweard Muybridge. 1878 CE. Photograph

-animal locomotion in 1887 -in 1872, someone either the governor of california, or founder of stanford university has to settle a bet -began his emotion studies which would later influence de gah -governor won the bet -invented a zoopraxiscope- projects a sequence of images onto a screen creating an illusion of motion

93. The Palace at versailles. Versailles, France. Louis Le Vau And Jules Hardounin-Mansart (architects) Begun 1669 CE masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens (5 images)

-center building is louis' bedroom -the building is centered in a vast town complex -landscape architecture is in baroque time period -gardens are ranged to enhance buildings they framed -key windows designated for garden viewing -gardens show mans control on environment and enlighten viewers with sense of limitlessness -undulating of figures is understated -extraordinarily expensive, mirrors are same size and shape as windows -mirrors in general were some of the most expensive manufactured items (only made in venice) -mirrors reflect natural light from windows -barrel vaulted painted ceiling -one has a peace theme and one has a war theme -hall of mirrors has been used for ceremonies, mariages, court > also used reciprocally by the french after the defeat of germans of WWI to sign treaty of versailles in 1919 -the gardens are classically and harmoniously arranged -gardens are not fully baroque -layout is geometric and controlled but gardens are swirly colorful and emotional 200 acres of gardens -mile long canal crossed by another canal joining main axis of the gardens -only fountains near the palace were turned on all the time -others only turned on when king walked past -louis required his entire court to live in versailles (20,000 people)

86. Henri IV Receives the portrait of Marie de medici from the marie de medici cycle. Peter paul rubens 1621-1625. Oil on canvas

-cupid (god of love) and hymen (god of marriage) hold the portrait Louvre -jupiter and juno -personification of france -royalty was considered demigods -married by proxi in 1600 -behind henry the fourth is the personification of france. Whispers to henry to choose love over war

92. Jan VermeeR woman holding a balance, ca. 1664 Oil on canvas

-intimate scenes -small gestures take on a greater significance -catarina, vermeer's wife, may have posed for this pic -stillness and timelessness -figure seems unaware of viewers presence -woman is possibly pregnant -balance things with virtue -blue and yellow focus

108. Eugene Delacroix, Liberty Leading the people, 1830. Oil on canvas, Louvre, pari

-lady liberty is just an allegory - the colors of the french flag, red, white and blue Personification of Liberty (central figure) Marching over dead bodies Leading the way to freedom Carrying flag of revolution and a musket in her hands Young boy holding two pistols Represents sacrifice Upper-class gentleman in a top hat, holding a rifle Represents the rich's inability to stay out of the war Materials - medium: canvas; oil on canvas Realistic, but with dramatic, theatrical lighting Soft, rounded lines that embody the figures depicted more so than the sharpness of their objects Depth and foreground but little to no background; shrouded in a cloud of fog (theatrical effect?) Glorification of everyday people who were involved in the war and the role of France's citizens in that war Acknowledgment of the sacrifices civilians made for the sake of revolution against a corrupt governmental regime Takes on a poignant tone as the revolution would be thought by some to have been in vain; pre-Napoleonic rule

104. Jean-antoine Houdon, George Washington, 1788-1792. Marble, 6' 2" high. State Capital, Richmond.

-marble is favored in neoclassical times, despite the fact that it's more expensive -favor unpainted marble in neoclassical times -this is george washington by jean antoine houdon- leading french neoclassical sculptor of late 18th century -revolutionary war uniform -contrapasso -is sword is cast to the side= epaulettes -naturalistic details, with button missing on his jacket -leaning on bundle of rods with an axe attached -arrows in-between the rods, which likely refer to native americans or infers that America is a wild frontier -symbolizes washington's plantation + a reference to cincinnatus

87. Self-portrait with Saskia. Rembrandt van Rijn. 1636 etching

-marital harmony -saskia is seen as a muse that inspires him -fanciful and not contemporary dress -saskia was the mother of 4 -this was not for sale, but for private purposes

103. Jaques-Louis DAVID, Oath of the Horatii, 1784. Oil on canvas, approx 10' by 13' 11" Lurve, Paris

-men swear their fidelity -women are entangled with the curiatii family and they are mourning -neoclassical in draperty, and tripartite composition -painted under patronage of louis the 16th -exemplum virtutis- example of virtue -David represents patriotism and stoicism -he believed that paintings depicting noble events in history wont in still civic virtue and patriotism among public this is not as neoclassical in its caravaggio like lighting and unroman architectural capitals -influenced by enlightenment philosophers and emulated grand style of 17th century

91. Diego Velázquez, Las Menina (The maids of honor), 1656. Oil on canvas. Museo del Prado, Madrid.

-most striking and enigmatic work done by this artist -no one really sure of deeper meetings -very large multiple portrait -in the center is 5 year old princess margarita; surrounded by menitas -behind are either two chaperons with a shadow and an unknown man -man in the background is the guy in charge of queens tapestry work -artist is seen stepping back to admire his artwork and looks at his viewers who acknowledge the presence -portrait of king and queen is reflected -princess margarita and her attendants -painting originally hung in king phillip the 4ths study -this work seems to establish painting as a noble occupation -since this was in his study he prob saw it regularly

102. Monticello. Virginia, U.S. Thomas Jefferson (architect). 1768-1809 CE Brick, glass, stone, and wood (2 images)

-neoclassical buildings revised classical principles into a modern framework -tailored to living in 18th century -neoclassicists symmetry, balance, composition, and order -thomas jefferson was owner and designer of monticello -there were servants kept underneath the house (wine bottle trick) -constructed by local workers, slaves, and materials -balustrade

78. Jacopo Da Pontormo, Entombment of christ, capponi chapel, santa felicita, florence, Italy, 1525- 1528. Oil on wood

-no groundline -elongation of bodies and some endogenous figures -yearning and anxiety is expressed -pastel colors -MANNERIST w/ elongated bodies Mannerism- -elongated figures -figura serpentinata -less emphasis on balance, symmetry, and rational composition (values of high renaissance) -unusual lighting effects -use of perspective to form an interesting illusion -compare and contrast mannerist painting with that of the high renaissance

96. Fruit and insects. Rachel Ruysch. 1711 CE Oil on wood.

-not a depiction of actual flowers, but of perfect specimens in bloom at the same time -pron used illustations from botany textbooks -wheat and grapes juxtaposed- may symbolize the eucharist Vanitas- a theme in still life painting that stresses the brevity of life and the folly of human vanity

77. Isenheim Altarpiece. Matthias Grunewald. C1512-1516 CE oil on Wood (2 images)

-oil on wood -christ is centered and crucified, very dramatic -two women looking up in anguish on his left and one person holding the women in comfort in white -right side= clothed man + dog -right picture- woman playing guitar (pink dress), women looking up at gothic architecture -created to serve as a central object of devolution in an Isenheim hospital built by brothers of st. antony -panels opened and closes -lamb of god is below christ Outside panels have st sebastian and st. anthony; angels playing music in celbration of birth of jesus christ -resurrection- fireball- hovering over the sepulchre and the bodies of the sleeping soldiers, a combination of transfiguration resurrection and ascension

100. Joseph Wright Of Derby.A philosopher Giving a lecture at the orrery, ca. 1763-1765. Oil on Canvas, 4' 10" times 6' 8" National Gallery, London.

-one in a series of candlelight pictures -inspired by caravaggio, tenebrism -the lecture at the center gives an orientation (focus on scientific essence of nature); replaces classical/religious figure -candlelight is important part of the scene -sharply delineated portrait -center guy is isaac newton demonstrating an ellipse -to complete celestial them, each face in the painting is an aspect of the phases of the moon -intellectual society, lunar socket -democratization of knowledge

105. Elisabeth Louise Vigee-Lebrun, Self portrait, 1790. Oil on canvas. Galleria degil Uffizi, Florence

-paints herself like Marie Antonine -although her mood is lighthearted, nothing about her pose speaks of robocco quality- hers is a self confidence stance that has earned her status in art loved society -artist was 45 when this was painted, but she appears much younger and idealized -subject in painting looks admirily at the painter -granted admission to art academy through her relationship with marie antoinette

82. II Gesu, Giacomo da Vignola, pan (architect); Giacomo della Porta, facade (architect); Church 16th century CE; face; 1568-15884 CE; Brick, marble, fresco, and stucco (3 images)

-playful remix of classical elements -pediments, tympana (semi-circular piece in doorway) - the two stories are separated by a cornice and united by scrolls in a forming niche -the letters of jesus' name IHS are over the central doorway -the interior has no aisles -ceiling painting -principle art of jesuit order -jesuits helped so much in counter-reformation -emphasis on the services -church became focused on servants and services: wide-barrel vaulted ceilings -columns rise multiple stories -scrolling volutes akak curly ques behind buttressing Ceiling: -in the center is a monogram of Jesus -figures tumble below the name -figures are carved in stucco to enhance the effects -trompe l'oeil -as if ceiling was opened to sky -depicted in the center are holy men and women -last judgement scene placed over barrel vault of nave

107. Jean-auguste dominique Ingres, Grande odalisque, 1814. Oil on canvas, Lurve, Paris

-romantic taste in its eroticism -inconsistent arrangement of limbs, rubbery arm, odd placement of leg, one of the arms longer than the other -face is raphael lie and back is abnormally long -caroline murat commissioned this- Napoleon's sister and queen of Naples -orientalism- representation of asia and especially middle east -array/ orient of the east Orient- a place of romance, exotic beings, haunting memories and landscape -influenced by italian mannerism

110. Louis-Jacques- Mande, still life in studio 1837. Daguerreotype

-shiny surface -meticulous finish -clarity of detail -no negative -also reproduces a variety of textures -plasters -wires -inspired by van dusques paintings

88. San Carlo alle Quattro Fontane. Rome, Italy. Francesco Borromini (architect) 1638-1646 CE Stone and stucco (3 images)

-straight intersection in rome with four fountains -facade looks like angulating -walls are full of dynamic and dramatic movement -Borromini treated architectural forms as if they were malleable -elongated central plan church that merges into an oval shaped that is coffered -dome has interconnection of different shapes -walls are treated sculpturally -Baroque architecture: underlying facades, critical shadow and light; entrances have pediments or timpinah - this building was a monastery complex for trintarian saints -sculptures of trinitarian santa are on facade - tenebrism= dramatic illumination- violent contrasts of light and dark and where darkness is the dominant feature of the image

85. Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, Contarelli Chapel, San Luigi Dei Francesi, Rome.

-tenebrism -people on the left are so involved with counting money they don't realize christ's entrance into the scene -one of 3 paintings that illustrates life of st matthew -Contarelli was the patron of the painting

79. Lucas Cranach The Elder, Allegory of Law and grace, ca. 1534, qoodcut

-woodcut -left is last judgement scene -moses holds ten commandments- old law- the law is not enough to live a good life -a skeleton chases a man into hell Lutheran Reformation The Law and the Grace Single most influential image of the Lutheran Reformation The Reformation--initiated by Martin Luther in 1517 (attempt to reform the Catholic Church, which had been the only church in western Europe up until Luther) The Role of Art The Law and the Grace explains luther's ideas in visual form Heaven is reached through faith and god's grace Luther despised and rejected the Catholic idea that good deeds ("good works") could play any role in salvation Catholics Vs. Luther: how to get to heaven? Catholics Believer could take action to vouchsafe their salvation by good deed (financial donations and paying for art) Luther Insisted that salvation was in God's hands and all the believer had to do was to open up and have faith Anger led to rebellion and destruction of artwork that the Catholic Church was become rich on Scene: Two nude figures appear on either side of a tree that bisects the composition Law (left) = dying tree Gospel (right) = living tree Tree is dead on the side of the Law but vibrant on the side of the Gospel The altarpiece from left to right Six columns of Bible citations appear at the bottom of the panel Left (Law) Side Scene: -Law and judgement symbolized by a man being forced into hell by Death (skeleton) and Satan (demon) -Moses delivers the Ten Commandments -Moses beholds these events; his white tablets standing out against the saturated orange rope and green tree -Highlighting the association of law, death, and damnation -Held by a figure that appears to be Luther himself (Cranach consistently depicted Luther in his portraits alongside biblical figures) -Christ sits in judgement -Adam and Eve partake in eating the forbidden fruit -Motifs (left) are meant to exemplify the idea that law alone, without gospel, can never get you to heaven Right (Gospel) Side Scene: -Grace and Gospel with Christ's cross crushing Death and Satan -Blood of christ covers those near the cross -John the baptist directs a naked man to both Christ on the cross in front of the tomb AND to the risen Christ who appears on top of the tomb -Risen Christ = stands triumphant above the empty tomb, acting out the miracle of the Resurrection -Nude figure is not hoping to follow the law on judgement day -Stands passively, stripped down to his soul, submitting to God's mercy Lutheran saw the law as the side in which financial donations enriched the church and should not be a way to salvation; in the gospel side he believed through your own belief in god should be enough to bring his grace Law paves the way to salvation by preparing the way for grace God judges and God shows mercy The Law and the Grace is concerned with two roles that God plays: Judge (condemns human sin) Show mercy (forgiveness) Granting unearned salvation to sinful believers Luther's idea of law is multifaceted and complex relationship to his idea of gospel Law alone will never make salvation possible, law paves the way to salvation Includes events from both the New and Old Testament Concerns two aspects of the relationship between humanity and god Describes events throughout the bible which reveal the dual aspect of god's relationship to people Cranach's pictorial translation of Luther's unique understanding of salvation Interprets the roles of law, good works, faith, and grace in the human relationship to God

89. Ecstasy of Saint Teresa. Cornaro Chapel. Church of santa maria della vittoria. ROME, Italy. Gian Lorenzo Bernini. C.1647-1652 CE marble, sculpture, stucco and gilt bronze (chapel) (3 images)

Architect of facade is carlo maderno -round and triangular pediments, broken pediments -catholic church dedicated to st mary -Bernini was appointed the official vatican architect in 1629, but still collected commission -teresa is sexually exhausted -marble is handled in tactile way; teresa's heavy robe, clouds -very well integrated in architecture

99. Portrait of sor juana ines de la cruz. Miguel cabrera. C. 1650 C.E. Oil on Canvas.

FORM: FUNCTION: CONTENT: she is portrayed seated in her library surrounded by symbols of her faith; she wears the habit of the religious order of the hermit of saint jerome nuns of mexico city (habit included the escudo), painting may have been inspired by the image of saint jerome seated at a desk CONTEXT: Sor juana was a child prodigy, creole woman (from spanish s or cent amer), literary figure who wrote widely read books, instrumental in giving girls an education in a male-dominated world THEMES: TERMS:

21. Navigation chart. Marshall Islands, Micronesia. 19th to early 20th century CE Wood and fiber

FORM: made of wood; horizontal and vertical sticks are support, small shells represent islands FUNCTION: Navigation CONTENT: show wave patterns and sways; navigated by stars and wave patterns created by the manya tolls (ring shaped reef CONTEXT: charts were meant to be memorized prior to voyage and individualized t the makers; very important because they traveled by sea a lot (seafaring)- they also have lots of smaller islands THEMES: Nature, woodwork TERMS: manya

218. Buk (mask) Torres Strait. Mid-to late 19th century CE Turtle shell, wood, fiber, feathers, and shell.

Form: Function: mask is worn over head like a helmet (used in ceremonies about death, fertility, or male initiation) Content: Mask is made of shell, wood, fibers, and shells; mythological brings represented Context: Torres strait islands Themes: mythological Terms: Buk

191. The Ardabil Carpet. Maqsud of Kashan. 1539-1540 CE Silk and wool

Form: Silk Warps and Wefts with wool pile (25 million knots, 340 per sq. inch) The pile of carpet is made from wool, rather than silk because it holds dye better. The more knots per sq. centimeter, the more detailed and elaborate the patterns can be The dyes used to color the carpet: are natural, include pomegranate rind and indigo Up to 10 weavers working at a time on the carpet Function: Fundamental examples of Islamic art— made of silk and wools, carpets were traded and sold across Islamic lands and into China and Europe Iranian carpets were highly prized— carpets decorated mosques, shrines, and homes, also could to be hung on walls to preserve warmth Islamic Art: very intricately designed and large amounts of time were put into designing the carpets Made for prayer in funerary shrine Content: Design— geometric patterns, vegetative scrolls, floral flourishes, typical Islamic Art designs Central golden medallion dominates the carpet, surrounded by a ring of multi colored and detailed ovals Lamps at either end hang— meaning: possibly use of perspective with different sizes of lamps, or mimic the lamps, unity within the shrine The border is made up of a frame with a series of (rectangular shaped spaces for calligraphy), filled with decorations Design in the medallion is repeated by the four corner pieces Inscriptions: four line inscription placed at one end— short poem is vital for understanding the commencing of the carpet and date Except for thy threshold, there is no refuge for me in all the world. Except for this door there is no resting-place for my head.The work of the slave of the portal, Maqsud Kashani. Maqsud: court official in charge with producing carpets Reference to himself as a slave, humble servant Persian word for door used to denote shrine or royal court, court patronizes the shrine 4th line of poem provides date of the carpet, AH 946 Muslim calendar begins in year 620 CE— AH 946 is equivalent to 1539/40 CE Summarized: huge carpet, funerary shrine of Safial-Din Prayer carpet Medallion in center represents inside of dome with 16 pendants Mosque lamps hang from two pendants, one lamp smaller than the other, larger lamp placed further away so it would appear same size as the smaller Corner squinches also have pendants-- looking into the dome World's oldest dated carpet Wool carpet, woven by 10 people, location and size entrusted with men Context: Named after the town of Ardabil in North-West Iran. Ardabil was home of the shrine of the Sufi saint, Safi al Din Ardabili (leader who trained his followers in Islamic mystic practices)— (Sufism is Islamic mysticism) After his death in 1334, his followers grew and descendants became influential in community. In 1501, one of his powerful descendants and supporters named Shah Isma'il, seized power and united Iran, eventually establishing Shi'a Islam as the official religion The dynasty he founded is known as the Safavids, their rule, which lasted until 1722, was one of the most important periods of Islamic art, especially in textiles and for manuscripts The carpet was a matching pair that was made for the shrine of Safi-al Din Ardabili when it was enlarged in the late 1530s. The carpet produced in a court workshop in 15th and 16th centuries. In 1843, British noted that one carpet was still present in the shrine of the Sufi Saint, and 30 years later, an earthquake damaged the shrine and the carpets were sold off Ziegler & Co. of Manchester restored them, and repaired them

223. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II. Fiji, 1953. Multimedia performance (costume, cosmetics, including scent; chnat, movement, and pandanus fiber/ hibiscus fiber mats), photographic documentation.

Form: all in a line, all the women are wearing patterned mats to Elizabeth Function: presentation of art to Queen Content: tapas and mats Context: in 1953 queen elizabeth II was doing a royal tour. When she visited in fiji, they gave her tapa maps and clothes; she was on tour because of her coronation Themes: Terms:

83. Pieter Bruegel The Elder, Hunters in the snow 1565. Oil on wood, Kunsthistorisches Museum, Vienna.

Cycles- are the painting series -this cycle represents december and january (winter months) -strong diagonals -alpine forest and trees -figures are peasant type -panoramic views -extremely detailed -sharp juxtaposition of foreground and background with no middle space is a veru mannerist thing -you see hunters, and then ponds, skater, and village -a landscape but truly focuses on human activities going on -would have been placed in wealthy person's home -offers the wealthy people a view into the life of peasants -hunters have has no success in hunting

74. Albrecht Durer, The Fall of Man (Adam and Eve), 1504. Engraving, 9 ⅞" by 7 5/8 "

Durer- His greatest artistic impact was in the medium of printmaking -woodcut illustrations -expressed his personal and cultural concerns -Specialized in woodcuts and intaglio prints -Woodcut tells us about the Renaissance and Germany rather than the text of Genesis. -Poses of two human figures show the Germans knowledge of classical proportions -vitruvius- the proportions of the face (distance from forehead to chin) -sacrifices naturalism to showcase his mystery of vitruvius skills -idealized perfect male and female bodies -naturalism -the four humors -persons personality was determined by their predominant humor -woodland background cat- choleric Rabbit- sanguine Elk-melancholic ox- phlegmatic

94. Screen with siege of belgrade with hunting scene. Circle of the gonzalez family. C. 1697-1701 CE tempera and resin on wood, shell inlay (2 images).

FORM: 2 faces of the screen- hunting and war scene (siege of belgrade) FUNCTION: screen meant to divide the space in a room CONTENT: display in viceregal palace (bc it was commissioned by jose); hunting scene based on tapestry designs for the medici, design derived from prints exported from europe; war scene depicts contemporary event of the great turkish war- dutch print used for inspiration of this work CONTEXT: only known ex of an artwork that combines biombo (folding free-standing screen) and enconchados (shell in-lay (mother of pearl) placed on a wooden support covered with a yellow tint and glazes); commissioned by jose sarmiento of de valladares; 2nd half of screen is in mexico city so its not depicted THEMES: TERMS -the age of enlightenment (1700-1863) -rococo--- -exterior- simple and plain -interior- style of interior design -naturalistic: small stones, shells, plat forms feminine- delicate undulating lines silver and gold agasint white background small lively relig sculptures-cupids, clouds -paintings were mostly small, had themes of love, frivolity, playful intirugue...

80. Titian, Venus of Urbino, 1538. Oil on canvas, 3' 1'' X 5' 5''. Galleria Delgi Uffizi, Florence.

FORM: complex spatial environment; colors are warm and luxurious FUNCTION: for private male pleasure CONTENT: posed in a provocative way w/ hand gesture and sleek curvy body; two women behind looking inside storage trunk (for clothing); venus is upfront, servants in middle space + opened window with plants; flesh seems to glow in light; roses with thorns symbolize beauty and problems of love CONTEXT: model was prob a venitian courtesan; dog may symbolize faithfulness; inspires later works by artists THEMES: nudity TERMS: spatial

72. Sandro Botticelli, Birth of Venus, ca. 1484-1486. Tempera on canvas, approx, 5' 9" X 9' 2". Galleria degli Uffizi, Florence

FORM: elegant and beautiful style; everything is idealized FUNCTION: possibly commissioned for a wedding celebration CONTENT:venus floats on a scallop shell; gracefully arranges her hands to enhance/embrace/"hide" her sexuality; handmaiden rushes to cloth her or a nymph; based on popular court poem; reflects a revival of interest in greek in roman themes; landscape is flat and unrealistic; figures float and aren't anchored to the ground CONTEXT: pose is probably inspired by the medici collection; first female nude since antiquity; story of venus-; may have been commissioned for wedding celebration THEMES: nudity, mythology TERMS: idealized

90. Angel with arquebus, Asiel Timor Dei. Master of calamarca (la paz school). 17th century CE oil on canvas.

FORM: elongated hat with feathers (may reference andean royalty); mannerist influence in the stiffness of the figure FUNCTION: CONTENT: drapery is of a 17th century spanish amer aristocrat; costuming is rich; however, indegous ppl favored gold embroidered on fabric; relationship expressed between this kind of image between winged-warriors of the mayan; related to spanish american writings CONTEXT: arquebus- state of the art weapon brought by the Spanish; asiel timor dei= "asiel fears god"; probably one in a series of paintings; from the la paz school (school which trained indigenous ppl in european ways) THEMES: TERMS

75. Sistine chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508-1512; altar frescoes: c.1536-1541 CE fresco (4 images)

FORM: even surface, ceiling, floor, covered in mosaic and fresco; realism, brilliant rich colors FUNCTION: ;where the college of cardinals decide who the next pope will be CONTENT: ceiling depicts the first scenes of genesis; nude men painted; eve, archetype of mary is depicted in the center; ceiling vault completely covered in fresco; 9 old testament scenes separated by painted architecture CONTEXT: sistine chapel is dedicated to the Virgin Mar; michelangelo began work for Pope Julian in 1508 THEMES:biblical scenes TERMS: contrapposto

68. Jan Van Eyck, Giovanni Arnolfini and His bride, 1434. Oil on wood.

FORM: linear perspective FUNCTION: wedding gift CONTENT: contemporary flemish bedroom full of symbolism; candles are burnt on first night of flemish wedding; shoes ebing caste off- indicates that couple is standing on holy ground; dog symbolizes fidelity; st margaret on bed post= saint of childbirth= fertility CONTEXT: represents wedding, betrothal, or a memorial to a dead wife that died in childbirth; maybe meant as gift for the Arnold Feeney family in Italy THEMES: oil painting, fertility TERMS: linear perspective

73. Leonardo Da vinci, Last supper, ca. 1494-1498. Oil and tempera on plaster, 13" 9' x 29' 10''. Refectory. Santa Maria delle Grazie, Milan

FORM: mixed oil and tempera; symmetrically around jesus- vanishing point above jesus' head FUNCTION: symbol of last supper and eucharist CONTENT: painted on dining hall wall (refectory)- designed scene to look like continuation of friars eating; bunch of different emotions displayed; jesus is in center of work, alone and highlighted by the window behind w/ "halo; 3 windows represent trinity; jesus blesses bread and wine creating the sacred eucharist CONTEXT: only Da vinci work remaining in place it was made; this piece wasn't appreciated initially; now the piece has been retouched and is now a shadow of itself THEMES: symbolism, christianity TERMS: refectory

101. Jean-honore fragonard, the swing, 1767. Oil on canvas, approx. 2' 8 ⅝" * 2' 2". Wallace collection, London.

FORM: outstanding color; stage scene; contrast of colors- pink and green; light brush work and figures are small in a dominant garden-like setting; use of atmospheric perspective- perspective when things in the background become hazier and the colors are more faded; epitome of rococo style FUNCTION: CONTENT: women kicks off her shoe playfully as cupid statue is looking up her skirt; in the background is an unsuspecting bishop; barking dog which is hard to see ; garden sculpture of menacing love is a reference to an actual sculpture (one at eye level with the woman); "dream-like" setting CONTEXT: very aristocratic clientele THEMES: TERMS: atmospheric perspective, racocco

71. Fra Filippo Lippi, Madonna and child with Angels, ca. 1465. Tempera on wood, 2' 11 1/1'. X 2' 1". Galleria degli Uffizi, Florence

FORM: painted with tempera on wood FUNCTION: symbol of piety and wealth CONTENT: woman is not realistic; this piece is mary seen as a young mother; rock formations symbolize the christian church; Scene depicted as if it were in a window in a florentine home (adds domestic intimacy); connects the subject matter to a florentine audience; pearl motif- CONTEXT: model for this mary may have been the painters lover; pearls are used as symbols in scenes of the incarnation of christ; Lippi was working under the patronage of medici under a carmelite monastery THEMES: patronage, domestic intimacy, painting TERMS: Patrons, tempera

76. Raphael, Philosophy (School of Athens), Stanza della segnatura, Vatican Palace, Rome, Italy, 1509-1511. Fresco, 19' X 27'

FORM: parallel the greatness of figures represented; influenced by leonardo's last supper FUNCTION: representation of worlds greatest figures (mathematicians, scientists, and philosophers). CONTENT: figures are serene and idealized, shortened and contrapposto poses; trump loyal arch (trompe l'oeil- arch)- architectural details are rendered so realistically they look like you could walk with them; plato and aristotle are @ the center of piece; left is plato- hold book timotius who holds the explanation to the universe- points to heavens as source of inspiration; aristotle carries ethnic books- hand is down bc he gets inspiration from observing the natural world; raphael is off to side of painting; michelangelo is resting on stone block writing a poem- represents herculitus- pose inspired from Isaiah of the sistine chapel CONTEXT: raphael painted THEMES: Philosophy TERMS: L'oeil arch

98. William Hogarth, Breakfast Scene, from marriage a la mode, ca. 1743. Oil on canvas, 2' 4" * 3'. National gallery, london.

FORM: series of 6 paintings- later turned into prints; myriad of details; elements of french rococo style FUNCTION: CONTENT: about a decadent english aristocracy; shortly after marriage each partner has been pursuing pleasures without the other; husband has been out all night and he lost a fight; broken sword- metaphor for sexual inadequacy; wife has been flaying cads all night nad expression shows that she lost a fortune; knocked over chair indicates that violinist made hasty retreat when the husband came home; painting above mantle is a symbol of cupid amongst the ruins CONTEXT: hogarth is best known for satirizing 18th english life; hogarth wanted to expose his audience to abuses in the upper class THEMES: TERMS:

66. Robert Campin, Merode Altarpiece (annunciation triptych), ca. 1427-1432. Oil on wood.

FORM:unlike tempera and fresco, oil paint is not quick drying, so artists can change what they previously painted; can be erased with turpentine allowing for changes and corrections, high horizons and highly symbolic art FUNCTION: used during key services CONTENT: the piece opens and closes; centerpiece is most important and sometimes carved- since considered a higher art; takes place inside of Joseph's house ; middle panel is an annunciation scene; middle- mary is told she is pregant with jesus CONTEXT: previously people only painted on fresco and tempera paint; oil paint is able to give texture surface and render soft shadows- generates enamel like surfaces and sharp details; altar pisces are one of the major works of painting that are made around this time; flemish is made from gothic style; flemish was a huge center for painting; significance that it is set in domesticated flemish location- makes more relatable to flemish audience ( humanization of traditional themes no one has halo)T HEMES: altar pieces, ritualistic, flemish style TERMS:turpentine, fresco, tempera, annunciation

167. Conical Tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Southeastern Zimbabwe. Shona Peoples. C. 1000-1400 CE coursed granite blocks (2 images)

Form: method of construction is ashlar masonry; Function:-- symbol of power? Content: -Zimbabwe means "venerated houses" or "houses of stone" -Marks a major site of trade and royal complex (residence) -32' tall, 800' long, 17' thick at base -conical shape-grain silos (good harvest and prosperity) -Symbolizes wealth and power and royal largesse -narrow passageway to get into the enclosure -abandoned Context: Themes: power and authority Terms: ashlar masonry

161. City of Machu Picchu. Central highlands, Peru. Inka. C. 1450-1540 C.E Granite (architectural complex) 3 images

Form: no roofs due to original thatched roofs that disintegrated; made of ashlar masonry; Function: royal retreat for the inca elite; Intihuantna stone- is used for ceremonies and vertical part used for sun dial; observatory torreon- used for storage Content: Intihuatana Stone and observatory (torreon); approximately 200 buildings, with the majority as housing; terrace farming Context: right in the middle of the mountains; Theme: nature, power/authority Terms: torreon, thatched roofs

174. Portrait Mask (Mblo). Baule peoples (Cote d'ivoire). Early 20th century CE wood and pigment. (2 images)

Form: portrait mask; idealized, not actual; quiet faces- introspective Function: worn by men- worn by her nephew to praise his aunt Content: closed eyes Context: very rare- only given to elders; part of Mblo tribute performances to an individual; honoree receives a mask as a gift that reflects an artistic double; commissioned by a group, not an individual; performer is accompanied by honoree Themes: performance, femininity, honorary Terms: Mblo, idelaized

178. Aka elephant mask. Bmileke (Cameroon, western grassfields region) c 19th to 20th century CE wood, woven, raffia, cloth, and beads. (2 images)

Form: primary medium is beading= power Function: Used in a royal court (only the most important people can own or wear an aka) Content: ears are elephant-like, and long trunk; mask fits over head; Features of an elephant (ears and trunk) but it has a human face Context: Elite Kuosi masking society owns and wears the masks, dance with spears and horsetails to drums and gongs Themes: Performance art, status, royalty Terms: Bmileke

159. City of Cusco, including Qorikancha (Inka main temple), Santo Domingo (Spanish colonial convent), and Walls at Saqsa Waman (Sacsayhuaman). Central highlands, Peru. Inka. c. 1440 C.E.; convent added 1550-1650 C.E. Andesite.

Form: red roofs, buildings are close together, urban layout; organized, technica; stone constructions Function: Capital of Tawantinsuyu "Land of 4 corners"; living space for Incan rulers and nobles Content:; axis mundi (center of existence for Inca Power); city divided into 4 sections- hanan (high), huron (lower), paneling into upper and lower minorities; miniature of entire incan empire; may have been made to be shape of puma, symbol of Inka. Context: City built on flat valley, but surrounded by Peru mountain range; located in Central Highlands of Peru; Inca; fertile land; several rivers near; women came to become acllas "chosen women" to weave cloth for deities and make chicha "corn beer"; men brought to Cusco for edu. Themes: Diversity of cultures and convergence, dometic life, sacred spaces, urbanization, gender roles, nobility Terms: Acllas, chicha, huron, hanan

175. Bundu Mask. Sande society, Mende peoples (west AFrican forests of Sierra Leone and Liberia). 19th to 20th century CE. wood, cloth, and

Form: very small face, exaggerated forehead; elaborate hair; idealized female beauty Function: for performance- function of mask is to teach girls how to be women Content: small mouth, smushed, not talking- keep secrets; elaborate hairstyle= wealth; neck is right behind the head - neck has fat rolls- represents health in order to bear children- fertility; fat rolls represent acrisius- hatching into women hood (butterfly); black mask symbolizes water, coolness, and humanity. Context: teach women moral values- women should be domier; Sande society is a secret society run by women- teach them how to be women, wives, and mothers ; women should be fluid like water; rings are worn around neck to represent waves in the water as Sowei (water spirit); symbol of individuality Themes: fertility , wealth, status, individuality Terms: idealized beauty, sowei, acrisius

109. Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a thunderstorm), 1836. Oil on canvas, Metropolitan museum of art, New York.

References the bend in the Connecticut River Reminder of humanity's insignificance in the grand scheme of things (as applies to many works created during the Romantic movement) nineteenth-century political ideology: this painting is about the widely discussed topic of westward expansion. This part of the painting depicts a virginal landscape, nature created by God and untouched by man. It is wild, unruly, and untamed. -manifest destiny the viewer can clearly see that Cole used a diagonal line from the lower right to the upper left to divide the composition into two unequal halves. Tree being bent: Symbol for nature being at the mercy of itself River, Clouds: Stormy in the foreground, white and clear sky in the background (far corner) This is enhanced by the gloomy storm clouds that seem to pummel the not-too-distant middle ground with rain.

111. Joseph Mallord William Turner. The Slave ship (Slavers throwing overboard the dead and dying typhoon coming in 1840. Oil on canvas. MFA, boston

Tells story about ships captain, and dead slaves that were lost @ sea -the captain threw slaves overboard to collect insurance money on them -he exhibited it with a -bloody sunset= massacre taking place and the dramatic impact -pure color, and color almost becomes the subject which are important aspects of 20th century art

112. Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W.N Pugin (architects). 1840-1870 CE Limestone masonry and glass. (3 images)

romantic architecture -yearning of the past - revival of many styles including gothic -iron is now used more commonly in architecture -house of commons and house of lords -house of lords is largely a ceremonial body -modern interventions like air ventilation -new house of parliament built after old one burnt down -elizabethan style (6) and 91 of entrances were in perpendicular gothic style -gothic- arches, windows, pinnacles, spires, vertical thrusts in building -neolithic- detail -mass production after neo-gothic rev. -has a "hand-crafted" look -central lobby- located between the house of commons and house of lords ^ a place where constituents can meet parliament -now symbols of suffrage movement-place where women would sit --contains sculptures of english figures -each mosaic contains a saint of the UK -scotland's= st andrew -wales=st david -northern island= st patrick -england= st george -only existing architectural structure in gothic hall= westminster hall ; inspired design of houses of parliament Meant for coordination and feasts Bare walls prob decorated with tapestry- high windows with romanesque arches -beams made of oak and curve to meet in center to created corbeled arch= false arch -started under william the 2nd

182. Buddha. Mamiyan, AFghanistan. Gandharan. C. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint. (2 images)

182. Buddha. Mamiyan, Afghanistan. Gandharan. C. 400-800 C.E. (destroyed in 2001). Cut rock with plaster and polychrome paint. (2 images) Form: gold on face Function: pilgrimage sire Content: Large sculpture- Vairocana Buddha (universal) and small sculpture-Shakyamuni (historical); reincarnation, if your soul- there is a buddha in every lifetime, you are reborn until you break the cycle of samsara- but buddha is one man, Vairocana buddha= 1 buddha shakamundi- is each buddha per lifetime; Vairocana buddha- mandorla at the head Context: Taliban blew it up in 2001; Baimayan is a west end trade center and religious center along the silk road; drapery= greek influence; pilgrimage site is Vairocanna- circumabulation could happen here at the feet Themes: monumental sculpture Terms: Vairocana, shakamundi, samsara, reincarnation, mandorala

216. Staff god. Rarotonga, Cook Islands, Central Polynesia. Late 18th to early 19th century. Wood, tapa, fiber, and feathers. (3 images)

FORM: 12 ft tall, feathers, wood FUNCTION: mounted upright in village spaces CONTENT: large column-like wooden core, and wrapped with tapa cloth; large head with several smaller figures carved below CONTEXT: THEMES: TERMS: tapa

49. Santa Sabina. Rome, Italy, Late Antique Europe. C 422-432 CE brick and stone, wooden roof. (3 images)

FORM: axial plan, columnated, corinthian columns (from the Roman tradition- taken from temple of juno <existing building> this is called spoila FUNCTION: place for influential meeting places; church CONTENT: 3 aisled basilica, committing in an apse, broad nave; windows made of selenite (a type of transparent and colorless gypsum), flat roof, and coffered ceiling; thin walls supporting a light roof; sensitively decorated inside; exterior is not decorative, but interior is beautiful and greatly detailed CONTEXT: architects adapted for new spaces for churches; spoila gave christians dominance over pagan religions; Peter of illyria was the priest who has the church built; founded by Pope celestine THEMES: sacred space, religious buildings TERMS: spoila, corinthian columns, gypsum, basilica, selenite

213. Nan Madol. Pohnpei, Micronesia. Saudeleur Dynasty. C. 700-1600 CE Basalt boulders and prismatic columns. (2 images)

FORM: basalt boulders and prismatic columns FUNCTION: separate upper and lower classes; helped let king keep an eye on upper classes CONTENT: curved outer walls that point upwards at the edges, kind of looks like boats CONTEXT: c. 700-1600; Pohnpei Micronesia THEMES: nature, natural forms, cities, lifestyle, living spaces, environment influencing architecture TERMS: nan modal- "spaces between"

63. Arena (Scrovegni) Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c.1303 CE; Fresco: c 1305. Brick (architecture) and fresco

FORM: brick and fresco; lamination- repeated acne which shows mourning of Jesus's death FUNCTION:symbol CONTENT: arena temple: built overtop the ancient Roman arena (piece shows rise of patronage from business class); life of christ on one side of chapel and life of mary on other; Enrico Scoroveni, donor of church, is depicted as saved; single day tree= medieval symbol for death; grieving angels emphasize sadness and emotional effect CONTEXT: italy (late gothic); Italy at this time was not unified- was divided into city states; new to art= guild system- they determine how large apprenticeships should last and what they should look like- regulated # of people entering guild + regulated commissions; artistic patronage was particularly strong among preachers and friars- especially dominicans; Giotto is a gothic artist but he parallels with current artistic skills THEMES: architecture TERMS: fresco

69. Donatello, David, late 1440-1460. Bronze, 5' 2 ¼' high. Museo Nazionale del bargello, Florence

FORM: free standing sculpture; bronze; homerotic undertones and contropasto displayed FUNCTION: nudity used to portray a biblical hero rather than as an allegory for sinfulness (medieval mentality)CONTENT: manifestation of; underdog defeating big power CONTEXT: beginning of revival of nudity in art; story of david and goliath; prob. Commissioned by the medici family (place in courtyard of medici palace)THEMES: nudity, human figure, biblicalTERMS: free-standing nude statue, contrapposto

215. "Ahu 'ula (feather cape). Hawaiin. Late 18th century CE Feathers and fiber.

FORM: feather tied to coconut fiber base FUNCTION: worn by high status chiefs and warriors (capes are full of power)- shows power and can be used a protection with supernatural force, mana CONTENT: 50,000 feathers per cape; vibrant red and yellow color (red was a royal color and yellow was so rare, so wealthy wore it)CONTEXT: worn by high-ranking chiefs and warriors (only worn by men) THEMES: status symbols TERMS: "Ahu ula', mana

60. Chartres Cathedral. Chartres, France. Gothic Europe. Original constriction c.1145-1155 CE. Reconstructed c1194-1220 CE limestone, stained glass (6 images)

FORM: gothic style; romanesque figures FUNCTION: church CONTENT: east wing is where the apse and the altar are and it faces the sunrise; windows symbolize the present and the north wing has stained glass that symbolize past; all this is part of a complex that included a church, hospital, and school; more elaborate and decorative style; 3 main images in the royal portal west facade- middle one is christ as judge of world, last judgement of conquest, christ is surrounded by symbols of evangelists; Mary with christ as a child in her lap; Mary as throne of wisdom ; robe is hypnotic in concentric circles; heads are aligned, but feet are at different levels; flying buttresses- buttress from separate pier that forms an arch with the wall it supports; virgin and child angels (Notre dame de la Belle Verrière), detail of a window in the choir of chartres; craftsmen made glass, glaziers cut the big panels into desired shapes; larger images of saints in the clerestory, narrative in side aisles; mary as seat of wisdom; blue framing added later CONTEXT: left spire is from Lake Gothic; portals will be used by Church hierarchy, not commoners; rib vaulting increases the ceilings vertical thrust THEMES: Royalty, church, religion, sacred spaces TERMS: hypnotic

217. Female Deity. Nukuoro, Micronesia. C. 18th to 19th century CE wood

FORM: human figure, with simple geometric form FUNCTION: symbol- hold mana CONTENT: long torso and broad chest; horizontal lines indicate knee caps and waist line; female deity CONTEXT: missionary Edward T. Doane THEMES: symbols, wood carving, deities TERMS: geometric, mana

214. Moai on platform (ahu). Rapa Nui (Easter Island). C. 1100-1600 CE Volcanic tuff figures on basalt base.

FORM: large heads, broad noses, prominent noses; hats=pukao- hairstyle in their culture ;platforms that they sit on called ahu (stone mixed with ashes during cremation) FUNCTION: hold mano (spiritual energy) CONTENT: disproportional; arms to the side of the body, resting straight to the side; mostly male statues facing inland CONTEXT: white corral in the eyes originally; 900 statues throughout the island weighing about 50 tons; lots of the statues were destroyed due to depletion of resources on the island which could have caused an ecological crisis; when destroyed, they were toppled face down, because people believe their eyes had spiritual value THEMES: spiritual, basalt rock, statues TERMS: pukao, ahu, tuff

219. Hiapo (tapa) Niue. C.1850-1900 CE Tapa or bark cloth freehand painting

FORM: made from tapping the wood bark =; made of mulberry trees; glued together with arrowroot or tapioca starch; freehand painting FUNCTION: traditionally used a clothing before cotton; also used as bedding; used by deities to protect their mana ; originally used as family crests and symbols- now used for interpretation CONTENT: made of bark cloth with geometric designs on-top CONTEXT: ceremonially displayed in weddings and celebrations THEMES: family symbols, TERMS: Hiapo="tapa"; mana, crests

51. San Vitale, Ravenna, Italy. Early Byzantine Europe. C.526-547 CE Brick, marble, and stone veneer; mosaic (5 images)*****

FORM: martyrium design of church- christian chamber for burial, san vitale plan; church has part axial and part central plan- altar is at middle, and building is circular; mosaics; tesserae- a small block of stone or other material used in the creations of mosaics; purple color= royalty; no sense of place and time on the work with Justinian FUNCTION: a church CONTENT: 8-sided church, octagonal w/ a plain exterior + a porch was added later; : bricks and ruins were taken from other buildings and put into the choir and apse of San Vitale w/ mosaic of Christ between two angels, saint vitalis, and bishop Ecclesius; Justinian, Bishop Maximianus and attendants- justinian is at the center, he holds a paten- a plate for Eucharist as if he is participating- people all have their hands covered; we know this is emperor justinian because of the nimbus, center figure, dressed in purple; to the left are the clergy and to his right are the military, slight impression of a progression forward; monogram of christ on soldiers shield; empress theodora- wife of justinian- she is holding a chalice for mass- juxtaposed on the other wall opposite of justinian- so together they are holding the chalice; theodora is a little off centered to show that her husband has slightly greater power; three men on robe of theodora- these are the 3 magi who bring gifts to baby jesus CONTEXT: financed by banker Julianus argentarius; byzantine artists prefer frontal poses, symmetry + weightless bodies, emphasis on drapery, not body; continue and modify the tradition of mosaics; court customs play an important role in byzantine art THEMES: role of women in power, royalty, spiritual TERMS: spoila, tesserae, paten, central plan, axial plan, martyrium

67. Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect) c1429-1461 CE masonry

FORM: masonry; order, clarity, and light; renaissance stresses GEOMETRIC DESIGNS and ideal proportions- interpreted as expressions of humanistic appeals FUNCTION: chapel for meeting place of franscican mosques CONTENT: equal dimensions and two burial volts with a dome (domes were supported by pendentives); in the center of the dome is an oculus; interior has a quiet sense of color with muted tones and punctuated with terracotta tiles; grayish stone used pietra serena; rectangular chapel with an apse and an altar CONTEXT: family patrons decorated the inside; pazzi fam were the patrons and competitors of the Medici fam. THEMES:apse, terra cotta, pietra serenaTERMS: pendentives

59. Bayeux Tapestry. Bayeux, Normandy, France. Romanesque Europe (english or Norman) c. 1066-1080 CE embroidered wool on linen (2 images)

FORM: not a true tapestry- not woven into the cloth; imagery and inscriptions ; continuous narrative on 3 registers FUNCTION:commemoration win of the Normans; now to give accurate depiction of the war CONTENT: unrealistic figures, 1 dimension; shows first meal, battle prep, servants serve food, Bishop Odo blessing the meal ; calvary attack and irst meal CONTEXT: textile is missing its end which most likely showed William as king; tapestry shows Normans nicely in the events; continues narrative tradition of medieval art THEMES: calvary TERMS: tapestry, romanesque

220. Tamati Waka Nene, Gottfried Lindauer. 1890 CE oil on canvas

FORM: painted on canvas with oil paint FUNCTION: anthropological, and represent Moai people, could also be commemorative of John crombie CONTENT: ceremonial weapon held in hand; tattooing on the face; abalone shell as focal point of weapon and dangling feathers; face is divided into 8 sections for various meanings; Moko is the design CONTEXT: more european influence; influenced by john crombie; painter born in bohemia- famous for portraits of Moai; conflicting interpretation- some say (moai) spiritual symbolism, while europeans may see them differently; other people may see this as an expression of colonial dominance. THEMES: European, oil paintings, realism TERMS: Moai

50. Rebecca and Eliezer at the Well and Jacob wrestling with the Angel, from the Vienna Genesis. Early Byzantine Europe. Early 6th century CE Illuminated manuscript (tempura, gold, and silver on purple vellum). (2 images)

FORM: painted on vellum (stretched animal skin) FUNCTION: shows bibles first sections CONTENT: painted with silver; text placed at top of paper with illustration below (soft, decorative figures, with fluid movements); contrapposto perspective Rebecca and ELiezer at the well (genesis 24:15-16 )- Rebecca is shown twice with a jar on her shoulder to go down to a spring. She quenches the thirst of Elizer and his camels; jacob wrestling with the angel (genesis 32: 22-31)- medieval influence:aller columns are behind the figures; classical influence of bridge CONTEXT: manuscripts were very popular; manuscripts were trained to work very precisely; very few people could read; illuminated manuscripts are from Vienna Genesis- done in a continuous narrative with genre details (written in Greek); this is only a portion of manuscripts with only 48/192 illustrations; surviving origin is uncertain THEMES: manuscripts, TERMS: contrapposto, vellum

62. Virgin with the dead christ (Rottgen Pieta), from the Rhineland, Germany, ca. 1300-1325. Late Medieval Europe. (Gothic). Painted wood, 2' 10 ½" high

FORM: painted woodFUNCTION: symbol/ reminder to viewers to focus on the eucharist; also used in church services and processions CONTENT: Here, Mary grieves visibly; blood gushes from the wounds of the emaciated Jesus (who has undergone extreme suffering); raw human emotions; originally the piece was painted, but now small bits of paint remain CONTEXT: from Germany; Germans suffered a lot from famines, war, and plagues; pieta means pity in italian THEMES: Christainity TERMS: pieta

58. Church of Sainte-Foy. Conques, France. Romanesque Europe. Church: c. 1050-1130 CE Reliquary of Saint Foy: 9th century CE, with later additions. Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary). 4 images

FORM: portal, flying figures, zigzag drapery, carefully articulated hierarchy of the figures; hierarchy of scale- parallels with status in a feudal society; romanesque pilgrimage church; cross commemorates christ's sacrifice FUNCTION: devotion, civic pride, and artistic expression; pilgrimage site; also a abbey- where monks lived, prayed, and worked; hosted pilgrims on journey from Santiago de Compostela in Spain CONTENT: light provided by side galleries and windows; barrel vaults; last judgement portal- reminds pilgrim of their pilgrimage; christ is depicted with a welcoming right hand and a cast down left hand; michela and the devil at christ's feet; portrayed as the heavenly Jerusalem; figures of the saved moved toward christ, Mary, and saint peter; follow charlemagne the legendary benefactor of the monastery; St. FOy interceded and appears kneeling before a giant hand of god. Inscription on lintel "O sinners, change your morals before you might face a cruel judgement; people enter on the right as sinners and exit on the left as saved; nave, apse, and 1 side aisle on each side; 5 radiating chapels CONTEXT: popular pilgrimage center for the relics of st. James; revival of stone; pilgrims went to receive a blessing THEMES: religion, sacred space TERMS: portal, drapery, romanesque

70. Leon Battista Alberti, Palazzo Rucellai, Florence, Italy, ca. 1450. Stone, masonry.

FORM: rejects justifications in favor of baffled masonry joints; expresses classical humanist ideals; tuscan pilasters; 2nd floor derived from ionic; top is corinthian FUNCTION: bottom floor=business; middle= guests; third is family's private qtrs; servants were on the hidden 4th floor CONTENT: friezes contains the rochella family symbols; three horizontal floors are separated by a strongly articulated strong course; pilasters group up vertical and divide spaces into squares and shapes, they emphasize cornice and caps on the building; articulation of 3 stories links building to colosseum levels; windows with mullions on the second floor. CONTEXT: originally there were 5 bays and 1 entrance; 2nd doorway and right Bay were added later- people next door refused to sell their house THEMES: patrons, humanistic ideals TERMS: cornice, pilasters, masonry, corinthian, ionic

173. Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo.) Late 19th century to early 20th century CE. Wood, fiber, pigment, and metal.

Form: method of construction is ashlar masonry; Function: mask worn by men in ritualistic dances Content: feminine features- structure of face, long hair, wearing earrings, almond eyes; face is rested for prayer and mediating Context: matriarchal society Themes: ritualistic

84. Mosque of Selim II. Edirne, Turkey. Sinan (architect). 1268-1575 CE Brick and stone. (3 images)

Form: 4 minarets- royally commissioned; still for the community; supported by squinches, decorated with muqarnas Function: mosque Content: 4 minarets and giant dome; brilliantly lit interior; 8 massive piers support the building; this food is more longitudinal since it was a church; the dome is 31.22 m in diameter, 42.25 m high, Mimar sinan, Mosque of Selim II, Edirne, Turkey, 1568-1575- at center of dome there is a flower- center of flower is made of kufic script/calligraphy;arches are red and cream from great mosque of qurtaba spain ; overall shape of prayer hall is square- plan is a central plan since it is symmetrical Context: European influence- in turkey but close to Greece; royals attend it; light=divinity and deity- the more light you see on interior is the manifestation of god; Mosque of Selim II and Hagia Sophia- justinian times (church); the plan of the mosque of Selim the II is inspired by the Hagia Sophia; minarets were added later Themes: sacred spaces Terms: central plan, muqarnas, piers, squinches

29. Sarcophagus of the Spouses. Etruscan. C. 520 BCE Terra Cotta

Form: Body is in weird L shape- very flat; upper part of body is 3-D Function: Sarcophagus- BUT stores cremations (ashes) inside Content: Spouses, very intimate position; lying together on couch at banquet Context: Women were more equal in society- participatory; Etruscans believed in cremation and funerals were a joyful celebration Theme: Funerary monument Terms: Sarcophagus (usually stored bodies), terra cotta

197. Todai-ji · Nara, Japan · Various artists, including sculptors Unkei and Kaikei, as well as the Kei School · 743 CE, rebuilt c. 1700 · Bronze and wood (sculpture)

Form: Bronze and wood make up sculptures; wooden built architecture with ceramic tiles on roof; cypress pillars (84), contrapposto; joint block technique (layering of wooden planks and blocks); Function: Promote spiritual unity in Japan; display power of emperor Shomu Content: hondo= "massive hall" located at the center of building; two multi-story pagodas; Guardian kings; wooden sculptures with dynamic, fierce bodies; Engraved with images of the shaka & bodhisattvas; no ceiling, but roof is supported by massive pillars Context: Commissioned by emperor Shomu in order to promote unity under his rule; WAS the largest building in Japan when completed; represented intermixing of buddhism and politics in Japan; Todai-ji= "Great Eastern Temple"- refers to eastern edge of city of Nara; Kokubun-ji = national system of monasteries in Japan; Todai-ji - the chief temple of the Kokubun-ji; Shaka = the historical Buddha; Bodhisattva = a deity who refrains from entering nirvana to help others Themes: Power/authority, architecture, sculpture, engravings, unity Terms: pagoda, contrapposto, hondo

97. Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodrigues Juarez c. 1715 CE Oil on Canvas.

Form: Casta Painting- cast: on the surface looks like loving family, BUT in reality this is propaganda for racial superiority and used as a tool for reinforcing social hierarchy in new spain Function: reinforces social hierarchy in new spain Content: man is very white (exaggerated); the woman (darker skin tone) is very dark compared to her husband and she is wearing her indigenous clothing that is altered with lacing around the neck; produce a metzito baby; the parents are very loving towards the child- but this is al a scam Context: blending of cultures with post contact Themes: social hierarchy, race, classes Terms: Metzito

32. Tomb of the Triclinium. Tarquinia, Italy. Etruscan C. 480-470 BCE Tufa and Fresco

Form: Differences among people on wall- skin color and wardrobe differs based on gender; females are wearing dresses and cream colored while males are tan; squares/checkering on ceilings- different colors (supposed to be the roof of festival) Function: Tomb Content: Narratives of people painted on wall- dancing, playing, celebrating; person playing instrument, and people are eating at festival Context: Funerals were celebratory, belief in cremation Theme: Cremation, Terms: Fresco, buon fresco, true fresco- wet plaster vs fresco secco- dry plaster (wet lasts longer, but it harder to do)

187. Folio from Quran. ARab, North Africa, or Near East. Abbasid. C. eighth to ninth century C.E. Ink, color, and gold on parchment

Form: Form The Folio is part of the Qur'an which is the sacred text of Islam Two page spread Qur'an manuscript The Qur'an is written on parchment in blank ink with a broad-nibbed reed pen Kufic is the type of calligraphy used in this manuscript The Qur'an is read from left to right The text of the sura is divided into verses by triangles made up of 5 gold circles which is located at the end of each verse Function: This book was used for sacred rituals and recitations The Qur'an which means "recitation" suggests that the manuscripts were secondary importance to oral tradition Heavily decorated for ceremonial purposes The Qu'ran is the central part of Islam and the Islamic faith revolves around this book Content: writing in kufic script; lots of negative space; Human and animal forms was considered inappropriate for the ornamentation of sacred monuments and objects, artists relied on vegetal and geometric motifs when they decorated mosques and sacred manuscripts The Qur'an consists of the divine revelation to the Prophet Muhammad in Arabic The words on the Qur'an translate as rays of light for the people who read and recite the recitations Piece from "The Spider" a text in the Qur'an Translation: "So each We punished for his sin; of them was he on whom We sent down a violent storm, and of them was he whom the rumbling overtook, and of them was he whom We made to be swallowed up by the earth, and of them was he whom We drowned; and it did not beseem Allah that He should be unjust to them, but they were unjust to their own souls. The meaning of this passage can be interpreted as if you do betray the words of Allah you will never be at peace Context: Huge part of the daily lives of people of Islamic faith and is still is to this day Very high value and prosperity in the religion Along with the flourishing of the Islamic faith there were advancements happening in the intellectual community It was a luxury to have such a fine inscripted object The scribes who illustrated these books were valued in their community for their stylistic abilities Some say the owner of this book could have been from a royal lineage Themes: spiritual/ritualistic Terms: calligraphy

45. Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column).

Form: Forum; semi-rectangular, abundance of columns, Basilica(large public building alongside forum), main square made of white marble and the rest was stone Function: "a public, urban square for civic and ritual business" Content: Basilica Ulpia- main central structure, surrounded by Corinthian columns, gilded bronze and tile; Column of Trajan- 155 scenes of military victory carved into columns (Trajan is focused on as leader of army); Libraries with Roman literature; Trajan riding a chariot (statue) at entrance to forum; used to be bronze equestrian statue of Trajan at the center of the forum Context: Trajan war- Trajans v. Dacians; column was made to depict two major defeats of the Dacians for the Romans; Trajan was highly regarded Roman emperor who was known for his public building program; able to build so much due to money from defeating Dacians Themes: War, Power Terms: Porticoes, Forum, colonnade, exedrae:semicircular receded spaces, Basilica,

181. Petra, Jordan: Treasury ad Great Temple. Nabatean Ptolemaic and Roman. C. 400 BCE- 100 CE. Cut Rock *3 images*

Form: Massive, carved into canyon Function: Tomb for royalty Content: Tholus in middle of pediment- circular peripteral is small temple; Greek and Roman aspects included; Corinthian columns- facade, frieze, and pediment; relief sculptures on frieze w/ gods- Greek, Egyptian, Assyrian Context: Stairs ascend up to temple- ascension in order to get closer to gods and the heavens; convergence of cultures; Nabatean people live in Petra under Roman control Theme: City planning, sacred space, Great temple Terms: Tholus, pediment, corinthian columns, relief sculptures

158. Ruler's Feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 C.E. Feathers (quetzal and cotinga) and gold

Form: Medium is very important- made of feathers and gold- color is green; size of hats were very large- represent power (person with biggest hat is most important. Function: Ceremonial headdress Content: 400 feathers- represent eternity Context: from Mexico; fight over ownership today Theme: ceremonial, power, hierarchy Terms: quetzal and cotinga

81. Frontispiece of the Codex Medoza, Aztec, From Viceroyalty of New Spain. 1541-1542. Ink and color on paper. 1'⅞" times 8 ⅝" Bodleian Library, oxford University, Oxford.

Form: Theme of paige is all about Aztec power and authority; message of page is really about Aztec showing possession Function: book Content: The Mexican flag with eagle sitting on top of prickly cactus at center; X is water; Tenochtitlan; lords of tenochtitlan surround center- names written in glyphs; Aztec lords; one guy is different, he has a darker, grey complexion because he just bloodlet; in lower register playing a game in ball courts; temples in background are being destroyed and set on fire Context: This piece is from New Spain (European conquered) Theme: authority Terms: Glyphs

42. Head of a Roman Patrician, Republican Roman. C. 75-50 BCE Marble

Form: Veristic portrait- brutal truth Function: Ancestor worship, funerary Content: Old, wrinkles= wisdom, longevity, experience, stubborn, stoic, determined Context: Patronage was huge in Rome- commissioned sculptures before you die; Brutal truth was wanted in Republic; during funeral banquets you would take bust out of house and parade them around for celebration Theme: Ancestor Worship, Patronage Terms:Verism, Patronage, busts

194. Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, CHina. C. 180 BCE Painted silk

Form: Yin symbols on the left, Yang on the right, mixed in the middle; bi of jade circular kong Function: Topper of coffin (funeral banner) Context: Lady Dai packed her riches with her; went on top of smallest ie, since it is least decorative on top; Lady Dai died in 168BCE Contents: tomb had over 100 objects; Top: Heaven, legend of the 10 suns, guards at the entrance; middle: earth with Lady Dai in center on platform, dragons are arranged through a bi in a yin and yang fashion; Bottom: underworld (animals like fish and turtles); Lady Dai at center wearing the funeral banner Themes: fabric arts, funerary rights Terms: bi-disk

162. All-T'oqapu tunic. Inka. 1450-1540 C.E. Camelid fiber and cotton.

Form: a woven, rectangular piece of cloth folding into a square; decorated with small red woven squares; has a slit for the neck; T'oqapu- square motifs that make up entire tunic; band of motifs near neck or at the waist; made of dyed camelid wool (high status textiles) + indigo blue dye; warp vertical and weft horizontal thread; composed of cotton and cmaileid fibers Function: dressing worn by high status figures Content: squares represent- people/ethnicities, places, and social roles of incan empire; symbol of power if there are lots of t'oqapu Context: Textiles were made by the chosen women- acllas; usually woven on backstrap looms; warp thread is the vertical background threads that are usually cotton, while weft threads are horizontal, reserved for high status textiles Themes:Social hierarchy, propaganda, dressing, status, clothing Terms: warp, weft, T'oqapu, acllas

188. Muhammad ibn al-Zain. C. 1320-1340 C.E. Brass inlaid with gold and silver

Form: abstract, complex designs; made of brass inlaid w/ silver gold and black past; lots of movement and energy; very expensive materials were used Function: for baptisms children on royal family/france (religious ceremonies); originally used for washing hands at religious ceremonies Content: figures, animals, and decorative patterning; animals parading around the rim of the basin; rulers on rim w/ medallions- 2 rulers- both hold goblets w/ figures in between are hunting + scenes of battle- limbs and decapitated head; largest frieze on exterior- figures in battle holding bows and on horses (Mamluk hunters and mongol empires in battle) conflict between groups is illustrated; figure holding leopard on a leash; bottom band- has flordali symbols (these may have been altered when coming to france); signature from artist is written in arabic Context: comes from Egypt; made by Mamluks- slave warriors and extraordinary; craftsman; this may have been made for someone not Muslim, for export possibly Themes: purification, religion, wealth, royalty, carving/engraving, metalwork, trade Terms: Mamluk, inlaid, medallions

168. Great Mosque of Djenne, Mali. Founded c. 1200 CE; rebuilt 1906-1907 Adobe. (2 images)

Form: adobe Function: mosque Content: horizontal wooden planks for replasting and for stabilization; ostrich eggs on top- symbolize fertility; courtyard ; connection to society, economics and urban community Context: largest mud brick building in the world; important because the surrounding home are also made of Adobe; over time mudbrick wears down and decays- they have an annual festival called replastering of the great mosque- the entire community gets involved- music, food, and dancing occur- joyous and muddy event Themes: architecture, religion Terms: adobe

163. Bandolier bag. Lenape (Delaware tribe, Eastern Woodlands). c. 1850 C.E. Beadwork on leather.

Form: bag and bandolier are connected; red trimming around cloth, floral blue pattern, trapezoidal extensions at ends; bandolier is a long rectangle that would reach to waist; backside is brown of bandolier; bag is rectangular in shape Function:Worn as cross body bag; decor; expression of high status Content: Incorporates styles from older Delaware traditions and other displaced native people; glass beads made abstract representation of floral patterns against dark background Context:roles of women vs men- domestic gatherer vs war front and hunting; animistic religion ; shamans were important spiritual leaders Themes: Symbolism, status, diversity, displacement Terms:bandolier, shaman,

177. Lukasa (memory board). Mbudye Society, Luba peoples (Democratuc Republic of the Congo). C. 19th and 20th CE wood, beads, and metal. (2 images)

Form: beads- carved from wood in an hourglass shape Function: Content: size of beads= how important each event is (ceremonies, migrations, heroes, kinship, genealogy, kings); beads of memory; represents the divine revelations of a spirit medium expressed in sculptural form Context: very few people are members of the Mbudye Society; held in the left, while "read" with the right index finger' Controlled by the mbudye ( a council who interprets the political and historical aspects of the Luba people)

155. Yaxchilan. Chiapas, Mexico. Maya. 725 C.E. Limestone (architectural complex) (3 images) Structure 33 and 40 + lintel

Form: building are very horizontal and rectangular stacked; 3 doorways; elevated on structure; lattice work- horizontal and vertical stone design motif; lintels- had sculptural low reliefs * Function: Sacred space, propaganda Content: structure 40 is set apart; bird jagar the 4th built this- in honor of his son, and his son dedicated building to him; * Lintel 25, structure 23*- body of a snake, threatening a woman (lady Zak; Xook- she is the queen), with a spear; there is a bowl in her hand to collect blood- in order to give thanks to the gods for her husband becoming king Context: Yaxchilan is a city with a lot of temples and building; rulers went on building campaigns in order to show power and authority; Mayans bloodlet to communicate with gods; fire is life Theme: Propaganda Terms: glyphs (language to interpret what's happening)

180. Veranda Post of enthroned king and wife. Olowe Of Ise (yoruba peoples). C. 1910-1914 CE Wood and pigment.

Form: carved wood and pigment, ¼ carved posts Function: veranda post, architectural, structural support for palace at Ikere Content: posts of rulers of Kriti-Yoruba Kingdom Nigeria; open with lots of negative space; king is sitting on throne, wife is the large blue woman crowning him; smaller figures are the "junior wives"; figure with flute is Esu, the trickster god; poets were often painted Context: Influential style in Yoruba culture for centuries Themes: architecture, status erms: Yoruba, pigment, veranda post, negative space

43. Augustus of Prima Porta. Imperial Roman. Italy, Early first century C.E. Marble.

Form: contraposto pose; speaking pose, classical Greek athlete body; traces of paint from original sculpture Function: Propaganda- for what Augustus stands for and what he is promoting Content: Idealized Augustus; young attractive, athlete; cupid is riding a dolphin and pulling on ankle garment (symbolizes naval victory and divinity; Augustus is descendent of Venus); sun god is spreading light to empire; wearing cuirass-breast plate Context: original was bronze; start of Pax Romana (golden age), Republic to Empire; modeled off classical Greek artworks; orators pose/prose; Augustus was painted originally Theme: Power & Authority; PROPOGANDA Terms: Pax Romana, Contrapposto, classical, orators, Cuirass

54. Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. 6th or early 7th century CE Encaustic on wood.

Form: encaustic- painting technique that uses wax as a medium to carry the color Function: is used as an icon for honoring Content: theotokos- virgin mary as mother of god; warriors stand heroically and stiffly; angles in background look to heaven; descending hand of god comes down to bless the scene Context: byzantine art stay away from nudity Themes: icons, byzantine empire Terms: encaustic, icon

171. Ndop (portrait figure) of King Mishe mishyaang maMbul. Kuba peoples (democratic Republic of the Congo). C.1760-1780 wood (2 images)

Form: head is the largest part of body Function: idealized, commemorative (after death)- act as king Content: photograph of king- known due to him wearing a headpiece, elaborately dressed, has skins on; in photograph a ceremony/ritual is taking place, that is why the king is wearing a regalia (headpiece) ; stoic and calm face of wooden figure- symbol of a hand on the drum; symbols at the base are individual to the king: sword or a peace knife in a "non-aggressive" meaning Context: costume of regalia is very heavy and used to represent splendor of court Themes: wealth status and power Terms: regalia

109. Bahran Hur Fights the Karg, folio from the Great II-Khanid. Shohnama. Islamic; Persian, ILL'Kjanuil c.1330 1340 CE Ink and opaque watercolor, gold, and silver on paper

Form: horizontal; strong black outlines; Function: guide book and book of epic tales Content: writing is on the top and below the picture- describes what's going on in the image/painting; heroic epic tale that has been fictionalized/mythologized; in the scene someone royal (has nimbus on head= this means he has divinity ) + has political power; is riding a horse, they are in the woods; this man is Bahran Hur fights the Karg (mythical monster); this is the end of the battle since the monster is dead- surrounded by blood; demeanor of Bahran Hur is very placid/nonchalant after killing the monster- this says that he is very self-confident; flordali is on Bahrans tunic- comes from France Context: influence from Europe; outlining comes from the chinese culture Themes: mythology, power and authority, propaganda; illuminated manuscripts- texts and images of importance Terms: illuminated manuscripts

165. Painted Elk Hide Painted elk hide. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c. 1890-1900 C.E. Painted elk hide.

Form: iconography; made of natural pigments like chalk and red ochre; animal hide included elk, deer, buffalo; Function: Record of history; Worked as economic and cultural benefit of the WInd river reservation- celebrated battles; Content: displays paintings of danes- the sacred Sun dance and non-religious Wolf dance; shows daily activities of life- women gather and men hunt buffalo Context: animals of the great basin region of the U.S; attributed to Cauzi Cody; tradition of Kiowa, Lakota, Shoshone, Blackfeet, Crow, Dakota, and Osage people. Themes: Culture, story-telling, nature, Animals Terms: Sun dance, Iconography

193. TerraCotta Warriors from the mausoleum of the first Qin emperor of China. Qin Dynasty C. 221-209 BCE Painted terra cotta

Form: individualized faces in order to pay attention to the Chinese ethnicity and population (respect) Function: giant tomb for emperor; funerary Content: 8000 terracotta warriors; 100 wooden chariots, 2 bronze chariots, 30,000 weapons= all part of ONE tomb; all individualized soldiers (proud, fierce, confident); army marching to the next world; mercury was throughout the burial place- it was very expensive and "full of power" Context: buried for afterlife protection of emperor; Shi Huangdi (UNIFIED CHINA)- standardization of currency, writing, measurements; came into power at 13 and immediately started his burial plans; obsessed with immorality ; his reign was full of power and importance- + military triumph; excavated in late 1900s Themes: propaganda, tombs, dirt, Terms: Terra cotta

47. Ludovisi Battle Sarcophagus Roman C. 250-260 C.E. marble

Form: large sarcophagus made of marble, detailed high relief (lots of detail and figures are almost fully out), gods depicted similar to coffin; smooth, light, and god-like; horror vacui- fear of empty space; chaotic, lots of movement Function: grave marker, liley for a rich man in Rome (man depicted as hero of the piece) Content: story of battle, Romans depicted as good guys, attractive faces, Barbarians are ugly bad guys; man in the center focus point of sarcophagus; lack of weapons and has on fancy armour = elitist, probably a general Context: Depiction of battle between Romans and Goths (Barbarians); Sarcophagi became popular in Rome beginning in the 2nd century; stylistic change from cremation to burial; At the time empire wasn't stable- civil war; name comes from Cardinal Ludovico Ludovisi Themes: Propaganda, Funerary monument, power and authority Terms: Horror vacui, sarcophagus

200. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty, c. 930-950 CE sandstone (4 images)

Form: linear, horizontal entryway to temple; this style is called mandapa; mandapa style - the towers are supported by short columns Function: temple Content: towers represent mountains; the tallest one is axis mundi; tallest tower in any hindu temple (axis mundi)-represents the location of the garba grippa- it is the epicenter- main cella; in the main room, the statue of the deities are at the center (vishnu in this case)- the womb of the temple- the statue becomes born here; tantric sex- flexible, multiple people involved orgy- this is a type of worship Context: sex was a ritualistic way of achieiving enlightenment Themes: rebirth, worship, sacred space Terms: axis mundi, madapa, cella

170. Sika Dwa Kofi (Golden stool). Ashanti peoples (South Central Ghana). C. 1700 CE Gold over wood and cast-gold attachments (2 images)

Form: made from gold Function: Soul of the Aghanti people- most important symbol Content: stool has its own chair/throne- you never sit in this ever; bells are attached to the side- used to signal danger, or if someone is about to sit in chair Context: Ghana is the land of gold + salt; european sat in chair which launched them into a war- the stool was put away for decades therefore Themes: Sacred pieces Terms:Ashanti

169. Wall plaque, from Oba's palace. Edo Peoples, Benin (Nigeria). 16th century CE Cast brass (2 images)

Form: made of brass, came from portuguese Function: tell history of power of Oba's Content: Heads and genitals of sculptures are typically enlarged- big heads symbolize knowlege and wisdom; genitals enlarged emphasizes fertility; man in the center is the Oba- he is larger emphasizing hierarchy of scale, with largest head too, and people fanning him; in background of plaque there are rosettes- shape is of european influence with cross shape= christianity Context: sculpture in general is typically portable, because they are nomadic people; in Europe African artwork was not called artwork- if you were an elite you collected these objects called curio (curiosities) Themes: Power and authority, mixed styles Terms: Oba- is a king/ruler, curios

184. Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. 641 C.E. Gilt.

Form: made of gilt metal; effect- gold hue with shocking blue hair; anthropomorphic (human) Function: to act as the Buddha's proxy after his parinirvana or departure from the world. Content: larger than life size, "exaggerated" buddha shown; he is dressed in a monk's robe which drapes over his body; elaborate, jeweled and golden background; Jowo Shakyamuni is seated in the lotus position with his left hand gesturing mundra, and overall gesturing meditation; His right hand is "calling the earth to witness"; these gestures signify the enlightenment of Buddha Context: the sculpture has undergone restoration and construction over the years; (Siddhartha Gautama)—is also known as Shakyamuni; originally there Buddhism was taught one way, but it branched into many sects over time; Rinpoche means "precious one" in Tibetan language; originally named the Vase-Shaped pillar Testament; carved by the celestial architect Viswakarma in India Themes: Sacred, sculpture, worship, religion, Buddhism Terms: gilt metal, anthropomorphic, rinpoche

57. Pyxis of al-Mughira. Umayyad. C. 968 CE Ivory.

Form: made of ivory (a very wealthy surrounding); horror vacui= no empty space Function: makeup box as a gift for an 18th birthday present Content: there are people on the front, calligraphy states what year it was given and to who- al-mughira Context: not a religious object; al-mughira is the son of the ruler so will eventually become ruler Themes: power and authority, Terms:

195. Longmen Caves. Luoyang, China. Tang Dynasty. 493-1127 CE Limestone (3 images)

Form: made of limestone, Function: pilgrimage site Content: this buddha looks different- the face is different- different ethnicity- important because the face of buddha is reflected in the faces of worshippers in buddhism; nimbus around head; Bodhisattva- are buddhas helpers; guy has broad shoulder, pecs, very muscular- he is the guardian of Buddha; other guardian is holding supta Context: near a body of body- near water in order for reelection of artwork- while you meditate- you reflect ; Bodhisattva- are buddhas helpers, considered to be sacred beings: they have achieved enlightenment, rather than going onto nirvana and breaking the cycle of reincarnation, they choose to stay in it and help others achieve enlightenment- sacrificial task; early carvings in the caves were patronized by individuals- empress Wu was the main patron Themes: bodhisattva, sacred space, pilgrimage site Terms: nimbus, bodhisattva

31. Temple of Minerva (Veli, near Rome, Italy) and sculpture of Apollo. Master sculptor Volca. c. 510-500 BCE original temple of wood, mudbrick, or tufa (volcanic rock); terra cotta sculpture *3 images*

Form: made of terra cotta; half of temple made of columns (plan) and half made of foyer/front porch; sculpture=life size, archaic smile, stance; stylized- toga and hair is "cookie cutter" Function: Temple for praying, offering, and worship Content: sculptures go on roof; sculpture wearing a toga; Context: nudity not accepted by Etruscans; Etruscans have own language and culture; Etruscans mimic Archaic period of Greece Theme: sacred space, human figure Terms: stylized

179. Reliquary Figure (Byeri), Fang peoples (southern Cameroon). C. 19th to 20th century CE wood

Form: made of wood, carving; abstraction and geometric shapes Function: Guards against the gaze of women or young boys; guard family reliquary boxes from the forbidden gaze of women and uninitiated boys and evil spirits Content: sits on top of a cylindrical bark container that holds skulls and bones of important leaders; hanging feet (for protection of contents); belly button and genitals are exaggerated to symbolize life; hands together in prayer; somber look=death; head is symbolic of an infant; large head for intelligence Context: Fang people like the qualities of tranquility, introspection, vitality; fang people iced in rainforests; during 19th century french colonizers perceived the byeri as idols, and banned Themes: carving, symbolism, life and death Terms: Fang, byeri, reliquary

209. Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Usted Ahmad Lahari, architect of the emperor. 1632-1653 CE. Stone masonry and marble with inlay of precious and semiprecious stones; gardens (2 images)

Form: minarets, arches for entrances and decoration , symmetrical appearence- 2 minarets on each side, 2 domes on each side; as wide as it is tall; squares are repeated throughout the garden- supposed to mimic paradise Function:tomb Content: gardens + onion shaped domes; 4 minarets; N S E W axis down middle of garden filled with water; near a river; effigies- wife and husband are buried below this- the effigies are covered in floral designs; floor has tesselations Context:Shah Jahan was the ruler; his favorite wife, Mumtaz Mahal died during the birth of their 14th child- they were both buried at this tomb; we know this building is important because it is made out of white marble and is raised on a platform; lots of people say this is the most romantic place in the world; theroyr is that this is the divine throne when day of judgement happens Themes: propaganda Terms: effigies, tessellations

154. Mesa Verde cliff dwellings. Montezuma County, Colorado. Anasazi. 450-1300 C.E. Sandstone

Form: missing roofs due to deterioration Function: housing Content: shape of a snake (something to do with astrological phenomenon maybe- head aligned with summer solstice and tail with winter solstice) Context: connect to deities and supernatural realms Theme: earthwork, domestic housing Term:civa, banquette, vent, deflector, fire pit, sipapu, roof support

222. Malagan display and mask. New Ireland Province, Papua New Guinea. C. 20th century CE Wood, pigment, vegetable fiber, and shell.

Form: negative space is notable; large hairstyle on mask mimic hairstyle of man in mourning Function: used for ceremonies in order to help grieve loss of loved ones Content: masks are painted black, yellow, and red= violence, war, and magic; alongside mask there are sculptures (of the dead- representing individuals life course) Context: mask ad display are part of Malagan ceremonies; cycle of rituals that present philosophical ideas (mainly used for honoring and dismissing the dead); ceremonies tend to be expensive, since they need to hire sculptors- families will combine their wealth and honor several people at once; during the ceremonies it is believed souls of deceased enter the sculptures; sculptures are normally destroyed after the ceremonies Themes: family, rituals, ceremonies, mortality Terms: Malagan

201. Travelers among Mountains and Streams. Fan Kuan. C. 1000 Ink and colors on silk.

Form: not much of middle ground, background takes of primary space of the scroll Function: Used as a teaching tool for Daoists principle, not on display permanently Content: over 6 ft tall; landscape, mountain takes up majority of scroll- representative peaks= deities; trees, + stream; travelers- Fan kuan is trying to convey that humans are insignificant compared to nature ; temple can be seen in the far back right corner; waterfall accents mountain and emphasizes height Context: tied to daoism; Chinese believed that elements within nature had spirits- shamanism religious worship; Fan Kuan- was a member of the Literati;Chinese-scholar artists: this group left to produce work in solitary; this is not a real place- it is an idealized perfect landscape Themes: landscape, scrolls Terms: scrolls, literati, idealized

185. Dome of the Rock. Jerusalem. Islamic, Umayyad. 691-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome (2 images)

Form: octagon shape w/ a golden dome on top Function: sacred site for pilgrimage Content: full of bright colors and patterns; the exterior decorations are not the same as inside; design motifs include- kufic calligraphy, tessellations, and arches; four main entryways with pillars/columns as decoration; dome of the rock contains a giant rock - the for inside is that it's not as bright in color Context: 2 important site of Islamic religion; spolia- anything that has been taken via conquest- all of the walls have been taken from Roman and christian origin for propaganda; dome of the rome reinforces the sacred theme; the fountain stone-where adam was buried; where muhhad ascended to heaven then back to mecca; where abraham gave ishamale? Themes: Islam, propoganda, sacred space Terms: kufic calligraphy, tessellations;

95. The virgin of Guadalupe (vigen de Gudalupe). Miguel Gonzalez, c. 1698 CE. Based on the original Virgin of Guadalupe. Basilica of Guadalupe, Mexico city. 16th century CE oil on canvas on wood, inlaid with mother-of-pearl

Form: oil canvas on wood; Mary is made of pearl pieces (mother of pearls); when light hits mother of pearl medium light is reflected- symbolizes she is shining like a diety; use of pearl is called biombo enconchado Function: praise/symbol of virgin mary Content: full body halo (mandorla); virgin mary in the middle with angels surrounding her; on mary's head she is wearing a crown, because she is the Queen of Heaven; frame is inspired by japanese painted boxes Context: virgin of guadalupe is mary- but she is native american, mexican virgin mary, symbol of mexico- image/devotional aid of the people; european influence on people and religion; blend of spanish and mexican culture Theme: gods, religion Terms: mandorla

186. Great Mosque. Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid Timurid and Safavid dynasties. C. 700 CE; additions and restorations in the 14th, 18th and 20th centuries CE. stone, brick, wood, plater, and glazed ceramic tile

Form: pointed arch entrances= iwans, prussians and recessions in iwans= movement and rhythm for the eye- called muqarnas Function: sacred place for prayer Content: at the center there is a private courtyard- retreat for you to focus; minarets- which all mosques must have; must have a niche called mihrab- where muhhamd stood and preached the word of allah (in median) Context: location- at the center of the city; muslims pray towards mecca- so in the mosque you know the direction with visual que- a qibla wall; mihrab represents- muhammads exile Themes: islam, arctitecture, sacred space Terms: qibla wall, mecca, minarets, iwans, mihrabs, muqarnas

176. Ikenga (Shrine figure). Igbo peoples (Nigeria). C. 19th to 20th century CE wood.

Form: very vertical; horns are very exaggerated Function: A man can be gifted an Ikenga to represent his power- shows an owners rank and individuality Content: sharp pointy horns; size of animals horns= power, superiority, knowledge. Ikenga= strong right arm- for punching and fighting, carve, create; physical power of men Context: needs to be blessed before used; kept in house, usually destroyed after man dies Themes: Physical mastery, masculinity, power, sacred objects Terms: Ikenga

157. Templo Mayor (Main temple). Tenochtitlan (modern Mexico city, Mexico). Mexica (Aztec). 1375-1520 C.E STone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec Style mask); basalt (Calendar Stone). (4 images)

Form: pyramid shape, very parallel; there is a sacrificial stone in front of Huitzilopochti's temple for human sacrifice; overtime temples were built up higher and higher Function: sacred space for sacrifice {stone- bells for cheeks}- naked woman, breasts are saggy and she has rolls; giant earring are bells on her cheeks; Choshoku- legs are not connected to torso; lying in the pool of her own blood; the whole temple is a symbol of her death; (calendar stone)- shape is cylindrical- it is for keeping date and telling time circular to represent cycle (points are a reminder of a sun); at center ther is head mask of olmec mask) Content: one temple dedicated to Tlaloc (blue- he is god of water (agriculture)) and one for Huitzilopochtli (maroon- associated with fire and blood (sun god)); temples are different colors Context: sacrifice is key to Aztec culture and religion Theme: Sacrifice, Aztecs Terms: olmec mask

56. Great Mosque. Cordoba, Spain. Ummayyad. C. 785-786 CE Stone Masonry. (5 images)

Form: rectangular shaped mosque Function: mosque, but incredibly important due to the history of its site- it was originally a roman temple Content: multi columned wall= hypostyle; court yard near entrance; orange trees- reminder of their exile from damascus; the double arches (horseshoe arches) are very distinctive in the interior- enlarges the space optically w/ striping; qibla was is highly decorative w/ tessellations and columns + red arches once again- repetition Context: all mosques must have a qibla wall and a minaret; this site/building; originally a roman temple and visigothic church- today it is a christian church known as the mezquita ; columns are spoilias- so they were taken from the romans and repurposed- superiority, triumph of islam over paganism Themes: sacred space, propaganda, repetition Terms: hypostyle, minaret, qibla, mezquita, visigothic, horseshoe arches, paganism

198. Borobudur Temple Central Java, Indonesia/ Sailendra Dynasty. C. 750-842 C.E. Volcanic-stone masonry (3 images)

Form: relief sculpture- used to represent the physical and spiritual journey of enlightenment; builders wanted to achieve a high elevation in building Function: represent one's path of enlightenment Content: the idea of a path is an important concept in Buddhism; referred to as a caitya (shrine), a stupa (reliquary), and a sacred mountain.; original plan was to look like a 3-d mandala to be used for meditation; walkways ascends to the top- in order to represent the path to enlightenment; there are 504 sculptures of Buddha in total; 1460 stone reliefs; 1212 decorative reliefs; 160 additional reliefs around the base of monument ; the relief sculptures represent Buddha's teachings Dharma, jataka- past live tales, and scriptures (sutras) Context: made by Gunadharma- a poet, thinker and architect; The temple became unused about one hundred years after its completion; the rulers of Java relocated the governing center to another part of the island.; British Lieutenant, Thomas stamford Raffles rediscovered the site after he was told by islanders about the incredible sight; Śailendra="Lord of the Mountain." Themes: Buddhism, spirituality, architecture Terms: Dharma, Jataka, relief sculpture, reliquary

160. Maize Cobs. Inka, c.1440-1533 CE Sheet metal/repousse. Metal alloys

Form: repousse- hammered metal outward from behind- kernels were made by sticking two halves together Function: Content: Context: Inka have lots of gold; had a lifesize garden made entirely out of gold and silver- which eventually were stolen; cobs are only thing we have left Theme: Terms:

183. The Kaaba. Mecca, Saudi Arabia. Islamic. Pre-islamic monument; rededicated by Muhhamad in 631-632 C.E; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped threads (3 images)

Form: shape of kaaba is cubicle; medium- made of granite, covered with silk, mandala rings- echo the prayer; gold calligraphy; Function: shrine- you make a pilgrimage here (hajj) Content: concentric circles Context: they pray around the kaaba and circumambulate- recreate physical rotation of the universe by circumambulating; people pray in white; the original kaaba was built by Abrhamam; muhhamd is the original restorer of the religion; overtime it became a shrine for many gods because mecca was on a trade route- so this became a polytheistic shrine; Muhhamad restored the kaaba, the only thing left was the BLACK STONE- muhhamd got rid of all the idols Themes: islamic, sacred places, pilgrimage Terms: kaaba in arabic means cube, mandala

199. Angkor, the temple of Angkor Wat, and the city of ANgkor Thom, Cambodia. Hindu, Angkor Dynasty. C. 800-1400 CE stone masonry, sandstone (5 images) really 6

Form: shape= square; vertical element related to universe= galleries- supposed to circumambulate; 5 peaks of sacred Meru; horror vacui of relief sculpture Function: temple for hinduism and buddhism (function of sculptural reliefs help to teach about religion and the images focuses the prayers to guide them to achieve enlightenment) Content: overall shape is square- 4 corners- associated with compass and cardinal directions; towers represent mountain ranges of the heavens/ hindu gods ; tallest peak represents mt. maroo; axis mundi at the center- reaching to the universe; plan mimics the shape of a mandala; South Gate Angkor Thom- lots of gates and tower represents axis mundi; face of ruler on gate to represent power, authority, and propaganda Context: patron- Suryavarman II; rulers added to complex overtime; dedicated to Vishnu; story (churning of the ocean milk): gods vs. demons fighting over the elixir of life- he who controls the elixir of life controls the world- this is a tug of war Themes: Hinduism and Buddhism, water and art , power, authority, propaganda, architecture Terms: Horror Vacui

156. Great Serpent Mound. Adams County, Southern Ohio. Mississipian (Eastern Woodlands). C. 1070 C.E. Earthwork/effigy mound.

Form: snake shape, earthwork Function: something to do with astrological phenomenon maybe- head aligned with summer solstice and tail with winter solstice) Content: shape of snake Context: connect to deities and supernatural realms Theme: earthwork, sacred space? Term:civa, banquette, vent, deflector, fire pit, sipapu, roof support

53. Chavín de Huántar: Northern Highlands, Peru. Chavín. 900-200 B.C.E. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry). (4 images)

Form: stele: low relief sculpture, shapes include spear and primitive plow; drawing of Lanzon stele- perfectly balanced and very symmetrical; face of a jaguar; snakes and claws; human animal hybrid signify gods/deities; nose ornament is made of gold- which signifies elitist and royalty, animal depicted is a snake; shapes are spirals=water Function: U shape is a temple Content: rivers line around the building (river split= sacred space and pilgrimage destination); most important object in temple is stele (Lanza stele: god- cult figure) Context: Peruvian mtns. In highlands; lanzon means blade; jaguars are symbols of power in Peru;Chavin- named after a specific architectural area Theme: Sacred Space Terms: vacuii, lanzon, chavin

192. Great Stupa at Sanchi, Madya Pradesh, India. Buddhist; Maurya Period, late sunga dynasty c. 300 BCE-100 CE stone masonry, sandstone on dome (4 images)

Form:'mound of dirt covered in stone; turnas are sculptures of the round, and horror vacui Function: Reliquary space Content: rounded spherical top; stupa- a mound of dirt covered in stone- contains a little bit of buddha's ashes- so it is activated by buddha's relics- sacred objects that hold spiritual values; lions near roofing; turanas- gates to get up to the stupa; toranas- are the stories of buddha's life; nimbus behind buddha's head; there are 4 entrances (toranas) ; vertical axis- axis mundi: world Context: This stupa is a sacred space due to its relics; followers of buddhism, would want to do a pilgrimage; circumambulation- walk around stupa- this symbolizes reincarnation, you also meditate during this; 600 donors contributed to the construction of his- demonstrates how buddhism is for all people including both men and women Themes: sacred space Terms: Stupa, relics, turanas, axis mundi, toranas

166. Black-on-black ceramic vessel. Maria Martínez and Julian Martínez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid-20th century C.E. Blackware ceramic.

Form:Ceramic; mixed with volcanic ash; pot made of built up coils; round- olla; geometric shapes and linear lines are top, matted surface of black; burnished stone- polished Function: Held water, stored seed and grain, and were used for cooking Content: Images were natural- included rain clouds, bird feather, cornrows, and rivers Context: Women played a more important role in society- became a part of hierarchy; women were credited for reproductive ability Theme: Wealth/Status, Cooking, Domestic use, Gender roles Terms: olla, matted, burnished

61. Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from the Apocalypse from bibles moralisees. Gothic Europe. C. 11225-1245 CE Illuminated manuscript (ink, tempura, and gold leaf on vellum). (2 images, each from a separate manuscript)

Form:Illuminated manuscript (ink, tempura, and gold leaf on vellum) Function: bible Content: teenage king Louis IX holds fluer de lis scepter and seal matrix; older monk dictates to younger scribe; 4 medallions with different scenes; modeling is minimal- luminosity of text is a reflection of stained glass windows; dedication page was commissioned by queen Context: Queen Blanche of Castile, mother and regent to the king; wears white widow's wimple; dominant gestures Themes: royalty, bible, sainthood Terms: medallions

64. Golden Haggadah (The plague of EGypt, Scenes of Liberation, and preparation for Passover). Gothic Spain, c.1320. Illuminated manuscript pigments and gold leaf on vellum) (3 images)

Form:Illuminated manuscript pigments and gold leaf on vellum Function: Used during jewish holiday sadre Content: 4 sections; master of house, under a canopy, orders the distribution of matzah and harosets (left to right and down), Miriam, moses's sisters, holds a tambourine and is joined by dancing maidens- cleans house Context: Jewish illuminated manuscript; haggadah means salvation- reminder to the jewish people to look for mercy; book read from right to left; painted by two unknown artists who are possibly christian- jewish scribe wrote the hebrew script Themes: Haggadah, judaism Terms: Haggadah, illuminated manuscript, sadre

164. Transformation mask. Kwakwaka'wakw, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string.

Form:Large, exaggerated bird head; prominent beak ;bright colors, strong makes up hair; formline style- bilateral (symmetical when opened), wavy calligraphy line, oval eyes; S and U shapes are frequent Function: Ceremonial purposes- worn; Worn by people of high status Content: Eagle; mask can open with string/chords, human face of an ancestor Context: Worn during dance ceremonies; took long time to make mask; very big part of culture; ritualistic pieces; worn by people of preexisting ancestry Theme: Ceremonial, status Terms:Nature, ceremony, woodworks, Ancestry

53. Merovingian looped fibulae. Early medieval Europe. Mid 6th century CE Silver gilt worked in filigree, with inlays of garnets and other stones

Form:chasing- to ornament metal by indenting into a surface with a hammer Function: brooch (safety pin)- resonate with identity and someone's status; buried with the dead Content: fibulae- type of garment clasp; zoomorphic elements; eagle and fish; cloisonne- enamel work in which colored areas are separated by thin bands of metal, usually gold or bronze; cloisons- french for partitions Context: looped safety pins made popular by Roman military campaigns; Barbarians and Romans copied and shared similar works Themes: dressing, hierarchy, cultural blending Terms: zoomorphic, fibulae, cloisons, chasing

46. The Pantheon. Imperial Roman. Circa 118-125 CE- concrete with marble, and stone facing

Form:mostly corinthian, greek temple with pediment, friezes, false windows, dome, facade; coffers (squares, function=makes dome structurally sound), columns are decorative rather than structural; oculus Function: originally made as temple for the gods, was a church, a tourist attraction Content: Radial building, colored marble, interior columns align with the frieze or false windows; implied rotation of dome; columns are not fluted; from pf the temple resembles a greek-style temple; oculus, only place for light to come through; sun dial- beam of light increases and decreases throughout the day (sacred space- connection to heavens), moving around circular shape of building; walls are 20 ft thick; rotunda with no light; circles and squares everywhere Context: commissioned by Marcus Agrippa not sure when completed Themes:Religion, Propaganda, power/authority, deities Terms:imperial red porphyry (red/purple marble very expensive), coffer, light tufa, scoria, classical

48. Catacomb of Priscilla. Rome, Italy. Late Antique EUrope. C. 200-400 CE. Excavated tufa and fresco (3 images):

Greek chapel Good shepherd fresco Orant fresco FORM: made of tufa and fresco; FUNCTION: burial site for christians CONTENT: greek chapel; 3 niches for sarcophagi, orant fresco. Orant fresco- arched wall w/ cemetery of family vault; central figure stands with arms stretched in prayer (maybe woman seen 3 times), empathetic gestures, contours- figure prays for salvation and heaven; mary and christ may be shown on the right (mother with child). Good shepherd fresco "on top"- parallels between old and new testament stories- fulfillment of hebrew scriptures; restrained portrait of christ; symbolism of good shepherd- he rescues individual shepherds in his flock who stray away CONTEXT: christians preferred burial due to jesus' ; catacombs were under the ground in a maze of passageways; before you were buried there were placed lacui (holes in walls for bodies); if you were rich you were placed in a sarcophagus and your body was blessed in a cubicula (mortuary chapel) THEMES: christinay, mortality, christ, architecture, burial sites TERMS: catacomb, lacui, fresco, tufa