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Ara Pacis Augustae (Altar of Augustan Peace), view of west side 13-9 BCE, Marble, Rome, Italy[approx. 34'5'' x 38' (10.5 x 11.6 m)]

Altar of the Augustan Peace in Rome was built to celebrate the return of Augustus in 13 BCE from his campaigns in Spain and Gaul. The marble structure, which once stood on the Campus Martius, is a masterpiece of Roman sculpture and, in particular, of portraiture. Senators, officials and the Imperial family are depicted on the wall reliefs of the monument in an animated procession, perhaps, the very procession which consecrated the altar site on 4th July 13 BCE or the celebratory procession to welcome the emperor's return. On the east and west sides of the exterior walls are panels with mythological scenes including a version of the she-wolf nursing Romulus and Remus, Roma seated on a pile of armour flanked by Honos and Virtus, Aeneas sacrificing to the Penates and a female figure with two children who may be Pax, Venus Genetrix or Tellus (Mother Earth).

Earth Drawing (Geoglyph) of a Hummingbird, Nasca Plain, Peru c. 1-700 CE (Early Intermediate Period) Rocks and subsurface Nasca, Andean

An example of biomorphic lines, which depict varieties of animals and human beings. The lines are produced on top layer of stones, the subtractive process. unoxidized lighter level beneath difficulty of spatial manipulation the relationships between these artworks and its potential viewers-> we don not know the function of them, probably ritual functions or mark water sources.

Reliquary Statue of Sainte Foy Late 9th - early 10th cent., with later additions Silver gilt over wood core, gems and cameos [h. 33'' (85 cm)] Romanesque

Reliquary is container holding the remains of a saint or holy person. Sainte Foy sit on a throne, her skull is placed in the reliquary statue., therefore the statue has a huge head. Travelers paid homage to Saint Foy by donating gemstones for the reliquary so that her dress is covered with agates, amethysts, crystals. It is a spiritual presence associated with physical body and a scriptural notion of incarnation.

Dome of the Rock, Jerusalem Begun 691 CE Gold dome, marble veneer and mosaic interior (exterior ceramic tiles added later) Islamic

The Dome of the Rock is a perfect example of Islamic interaction with Byzantine artistic and architectural traditions. The overall form of the architectural dome follows the Byzantine model of churches and martyriums (structures designed to house relics); and the mosaics decorating its interior draw extensively on Byzantine mosaic techniques and aesthetics in their execution of vegetal motifs. The mosaics in the Dome of the Rock contain no human figures or animals. At the center of the Dome of the Rock sits a large rock, Muslims believe that the Rock commemorates the night journey of Muhammad. From the rock, Muhammad journey to heaven. The Rock is enclosed by two ambulatories (in this case the aisles that circle the rock) and an octagonal exterior wall.

Flavian Amphitheatre (Colosseum) 70-80 CE Rome, Italy

The Flavians are huge sports fans, they constructed facilities. The outer wall is an oval, the floor waylaid over a foundation of service rooms and tunnels that provided an area for athletes 50,000 spectators could move easily through the 76 entrance doors. On each story, there are columns in a different order, one story with Doric, another story with Ionic.

Tori Busshi  Buddha Shaka and Attentdant Bodhisattvas in the Hōryūji Kondo c. 623 CE gilt bronze Hōryūji, Japan[height seated figure 34 ½'' (87.5 cm.)]

The Golden Hall's interior is presided by a gilt bronze Shaka Triad, a Shakyamuni (historical) Buddha flanked by two attendant bodhisattvas, created by Tori Busshi, a master craftsman of Korean decent. This Buddha figural group, shown with the "fearlessness" and welcome (hand gesture) to symbolize their benevolence, was commissioned in 623 CE as an offering to Prince Shōtoku who had died in the previous year. This object is believed to have survived the 670 fire. The style shows Tori's familiarity with the continental style of Buddhist sculpture: the frontal pose, gentle smile, flat bodies, slightly enlarged heads with archaic smile, and flowing linear drapery bear a strong resemblance to the Buddhist sculptures created in Northern Wei China or contemporary Korea. The scales of the three figures conform to their importances. The frontal pose and the linear drapery reduce the sense of naturalism of the statue (looks a little bit stiff), however, it renders a sense of the deity.

The Kaaba, Mecca, Saudi-Arabia Modern construction, based on 693 CE plan Kiswah made of silk and gold embroidery Islamic

The Kaaba, meaning cube in Arabic, is a square building, elegantly draped in a silk and cotton veil. Located in Mecca, Saudi Arabia, it is the holiest shrine in Islam. Upon arriving in Mecca, pilgrims gather in the courtyard of the Masjid al-Haram around the Kaaba. They then walk around the Kaaba, during which they hope to kiss and touch the Black Stone (al-Hajar al-Aswad), embedded in the eastern corner of the Kaaba. the Kaaba is a cubical structure, unlike almost any other religious structure. It is fifteen meters tall and ten and a half meters on each side; its corners roughly align with the cardinal directions. The door of the Kaaba is now made of solid gold; it was added in 1982. The kiswa, a large cloth that covers the Kaaba. The numerous changes to the Kaaba and its associated mosque serve as good reminder of how often buildings, even sacred ones, were renovated and remodeled either due to damage or to the changing needs of the community.

Rose Window and Lancets, Chartres Cathedral c. 1230-1235 CE Stained and painted glass Gothic

The Lancets use large-scale single figures that could be seen at a distance, bold drawing and strong colors, which proclaims the royal and priestly heritage of Mary and Jesus. In the very center of the rose window itself, Mary and Jesus are enthroned, surrounded by a radiating array of doves, angels, and kings and prophets from the Hebrew Bible. Light radiating from the deep blues and reds creates a hazy purple atmosphere in the soft light.

Bronze Griffin (with blessing inscription in Arabic) 11th-12th century CE bronze Islamic Spain; later appropriated in Christian Pisa

The Pisa Griffin had some characteristics of a lion and some of an eagle, the head and wings of the eagle, and the broad chest and thick body of a lion. It was decorated with feathers on the wings, and the carving of its back suggests it is wearing a silk drape, which links it with Asia. It is used to denote strength and military courage and leadership. Griffins are portrayed with rear body of a lion, an eagle's head, with erect ears, and feathered breast, with forelegs of an eagle, including claws. The combination indicates a combination of intelligence and strength. Eagle is a symbol of strength, loyalty, courage and freedom.

Hōryūji Compound in Its Original and Present Layoutsoriginal structure built ca. 610 CE, rebuilt 670 and 711 CE Hōryūji, Japan

The Temple was built of stone, wood, ceramic. The temple was built by Prince Shotoku, who was an important patron of Buddhism) in 607 and destroyed in a fire in 670, rebuilt afterward. It is a private temple of imperial regent. The original layout was comprised of golden hall, pagoda, inner gate, library and bell tower. The lecture hall was added later. The temple functions as a monastery, where monks and nuns live. the Middle Gate (chūmon), Five-Story Pagoda, and the Golden Hall (kondō) are arranged slightly off the north-south axis, while the lost original plan is believed to have followed the more orthodox Chinese and Korean style, strictly symmetrical and centered around the Pagoda. This change in layout suggests 1. the increasing significance of the Golden Hall (the main worship hall housing the statue of Buddha), rivaling the previously most important pagoda (the reliquary, or the container for Buddha's ashes, developed from Indian stupas into vertical structures in China; considered to be the embodiment of the Buddhist doctrine); 2. the Japanese preference for asymmetry, also echoing the asymmetric balance of the pagoda and the Golden Hall.

Standing Buddha 486 CE (Northern Wei dynasty)Gilt bronze with traces of pigmentsChinese

It is a free standing sculpture, the Buddha stands on a upturn lotus. He has a more rounded head, wide shoulders, a defined waist, and long legs and arms, and wears three garments: a long saronglike undergarment, an intermediary piece, and a large rectangular shawl that is draped across the back and front and falls over his proper left shoulder. The big ears are the signs of enlightening, the tuft of hair is his third eye. This is Buddha Maitreya, the Buddha of the future. His hand gestures mean do not fear and welcome.

Scene of Buddha's Death, Pagoda, Hōryūji c. 711 CE dry clay Hōryūji, Japan

- Buddha reclines in the middle surrounded by Bodhisattvas. -gold for Buddha, clay and pigments -higher level Bodhisattva w/impassive faces, some younger wracked with grief (debate on response) -one of 4 different scenes

Kondo (Golden Hall), Hōryūji original structure built ca. 610 CE, rebuilt 670 and 711 CEHōryūji, Japan

Kondo is the main image hall, it is the most long-lasting wooden structure in the world. The raised-floor is replaced by a stone platform, and the reed-covered gabled roof is taken over by the double-roofed hip-and-gable style fortified with clay tiles. Although the Golden Hall appears to be a two-story building from the outside, its interior consists only of one story, unlike its Chinese model. Golden hall played an increasingly important role in the temple complex because it houses the statue of Buddha.

The Crossing of the Red Sea (detail of Wall with Torah Niche, from a House-Synagogue)

Moses appears twice - leans toward army of Pharaoh - march on path for Hebrew, leans to waters over soldiers to stop pursuit (Parting and unparting - both God's miracles)

Pagoda at Horyuji original structure built ca. 610 CE, rebuilt 670 and 711 CE Hōryūji, Japan

A pagoda is a several-story tower, originating from the stupa for in India. The pagoda is the central activating feature of the complex, since it house Buddhist relics in the base. The pagoda is a symbolic structure, people cannot really get into building. There is a central pillar( heart pillar) running through the middle. The heart pillar does not play a structural role of supporting the building, but it maintains the stability in earthquakes. Meanwhile, the relics are placed right atop of the heart pillar, implying the relics are the heart of a pagoda.

Cityscape, detail from the cubiculum (bedroom) from the Villa of P. Fannius Synistor, Boscorealec. 40-30 CE fresco Late Republican, Roman

All the buildings are observed and painted from the same vintage point. The artists articulates the proportion of each building to create a 3D space.

Giotto di Bondone Raising of Lazarus, Scrovegni Chapel, Padua 1305-1306 Fresco Italian

This scene is composed with the heightened effect of the gaze and gesture of Christ in mind. The rhythm of the individual gestures and the reactions of those present clearly show the energy which emanates from Christ, which startles the onlookers and wakes Lazarus from the dead. This energy carries on like an arrested wave into the narrative details: the arrangement of the folds in Lazarus' winding sheet or in the hitched up cloak of the disciple next to him are touched by it, as are the precisely characterized faces.

Turquoise glass bowl made of Islamic and Byzantine elements 9th-10th cent. Islamic bowl, 11th cent. Byzantine mounting; put together in 15th century Glass, silver gilt, enamel, and gemstones Islamic and byzantine

9th-10th Islamic bowl possibly Abassid dynasty -11th century byzantine mounting -15th century put together

Pueblo Bonito, Chaco Canyon, New Mexico, USA 830-1250 CE Sandstone and clay mortar Ancestral Pueblo

A great monument because of tis ambition and scale. There are nine great houses in Chaco Canyon.

Sarcophagus Junius Bassiusc. 359 CE Marble Early Christian, Grottoes of St. Peter, Vatican, Italy[4' x 8' (1.2 x 2.4 m)]

By the middle of the fourth century, Christianity under imperial patronage had become a part of the establishment. The elite of Roman society were becoming new converts. Such an individual was Junius Bassus.When Junius Bassus died at the age of 42 in the year 359, a sarcophagus was made for him. The carvings are in high relief on three sides of the sarcophagus, allowing for its placement against a wall. The column and many parts of the figures are carved completely in the round. The arrangement of relief scenes in rows in a columnar framework is an introduction from Asia Minor at about this time. No portrait of the deceased is shown, though he is praised in lavish terms in an inscription; instead, the ten niches are filled with scenes from both the New and Old Testaments, plus one, the Traditio Legis, that has no Scriptural basis. There are a lot of Christian iconographies in this sarcophagus. Salvation is a message in the relief of Abraham's sacrifice of Isaac on the left hand side of the upper register.

Gislebertus? Tympanum showing the Last Judgment, Saint-Lazare Cathedral, Autun, France c. 1120-1130 or 1130-1145 CE Romanesque

Christ sitting on the throne encircled in mandorla, portrayed as powerful, ideal and balanced, suggesting he is the god of universe. Christ adopts the cross shape. Christ sets the standards and judges the souls. On the left side, souls are ushered upward into heaven, on the right side, the evil side, the souls are sent to hell. One angel pushes one of the saved up through the archery into the glorious architectural vision of heaven. While on the right side, souls cover their eyes and show terrified facial expressions. The souls depicted in the lintel are waiting for the judgement. The figures are exaggeratedly elongated, the realism of gesture and expression overstated, a predominantly picturesque mood, and the clear influence of mystery plays. This was meant to emphasize their status as above mere humans. People are shown as frail, flawed, and weak. The human body was seen as the gateway to temptation and sin. This connection between imperfect bodies and sin is even more apparent in the demons on the right of the piece.

Church of Sant Vincenc, Interior, Cardona 1020s-1030s CE Romanesque

Church of Saint Vincenc has a long and narrow nave, the altar space is at the end of the nave above a crypt. Single window and heavy masonry are two characteristics of Romanesque Church. semi-circular arches, thick walls, and closely spaced supports and create a feeling of security. Massive and broad, Romanesque buildings seem to be bound to the earth. The interior is extremely solemn, without any paintings or frescos. The arcades on two sides add a sense of sculptural attraction to the space.

Great Buddha Hall (Daibutsuden), Tōdaiji original structure built 750-752 CETōdaiji, Japan

Emperor Shoumu was a big patron go Buddhism and he decided to build national temples. The scale of Great Buddha Hall is huge, projecting the power. It functions as housing a central Buddha image.

The Tetrarchs c. 300 CE Porphyry Originally Constantinople; now St. Mark, Venice, Italy[height figures 51'' (129 cm)]

Framing a corner of the facade of St. Mark's Basilica in Venice are high relief sculptures of four Roman emperors known as the Portrait of the Four Tetrarchs. Each pair is on a separate panel carved out of Imperial Porphyry, a dark purple-red color reserved in antiquity for emperors, in the early 4th century A.D. Dark purple color is associated with power and royalty. The statutes portray four emperors stand rigidly, grasping a sword in one hand and extending another arm to the other's shoulder. They wear kilt reaching to the knee, holding a sword implying their power. Each emperor is in a very serious facial expression rendered by huge eyes and sharp linear qualities. It's not possible to identify the specific rulers depicted in the sculpture. Unlike the portraiture of earlier Roman emperors, the Tetrarchs are not realistic. There are no identifying characteristics or attributes, no naturalism, no individuality in the carving of garments or the men wearing them. Each pair shares an embrace, one bearded figure and one clean-shaved, implying the identities of senior emperor and junior emperor. It is one of the best examples of shared power. It was designed to emphasis the union of the four emperors and their uncompromising stance in the face of internal and external pressures.

Duccio di Buoninsegna Raising of Lazarus, panel from the Maestà Altarpiece 1308-1311 Tempera and gold on wood Italian [17 1/8'' x 18 ¼'' (43.5 x 46.4 cm)]

From Duccio to Giotto, there is a direct shift to naturalism. The sky is blue, the arrangement of each object obeys law of physics and optics.

Guo Xi Early Spring (hanging scroll)1072 CE (Song dynasty)Ink and pigments on silkChinese [height 158.3 cm]

Guo Xi arranged the main elements of the monumental landscape along the central axis of this vertical scroll. Large landforms and pine trees in the foreground connect with the "S"-shape of the middleground. Following a break with the mist, the slope climbs up and continues into the winding central mountain in the back. Deep distance penetrates to either side of the mighty mountain as winding forms are complemented by the diagonal breaks of streams and waterfalls. Lofty halls and pavilions along with a thatched-roof kiosk are tucked deep in the mountains to the right. The flat distance to the left creates an expansive horizontal vista that complements the dizzying heights of the mountains. The ink is light yet rich, while the composition combines the techniques of tall, deep, and flat distances, making this an ideal landscape for walking, viewing, living, and traveling in the imagination.

Fan Kuan Travelers Among Mountains and Streams (hanging scroll)c. 1020 CE (Northern Song dynasty)ink and pigments on silk Chinese 2.06m

Immense boulders occupy the foreground and are presented to the viewer at eye level. Just beyond them one sees crisp, detailed brushwork describing rocky outcroppings, covered with trees. Looking closely, one sees two men driving a group of donkeys loaded with firewood and a temple partially hidden in the forest. In the background a central peak rises from a mist-filled chasm and is flanked by two smaller peaks. This solid screen of gritty rock takes up nearly two-thirds of the picture. The sheer height of the central peak is accentuated by a waterfall plummeting from a crevice near the summit and disappearing into the narrow valley. The comparison of the size of the people and the mountain emphasizes the power of nature.

Workshop of Robert Campin Annunciation Triptych (Merode Altarpiece) c. 1375-1444 CE Oil painting on wood Netherlandish

In the Central Panel Angel Gabrille appears from the window and announced the birth of Jesus. Kneeling on her bench, Mary is reading a book peacefully. She still focuses on her book without noticing the appearance of the angel, implying the moment Gabrielle just entering the room. The wind distinguished the candle on the table, also suggesting the appearance of the divine in her room. A tiny little Jesus, carrying a cross, enters through the window, with golden sun rays running along with him. The artist delineated the details of the interior set up, each detail is an icon. The cleaning pot, filled with pure water hung on the back is a metaphor of the virginity of Mary-> she is the only human without original sin. The lilies are the symbols of virginity and rebirth. Golden beams of light through window do not shedder May's virginity. The artist put in great effort to render a sense of naturalism. He uses the contrast of light and color to create a sense of volume of the characters. The folds of Mary's dress are really realistic. The artist also tries to create a space through making objects smaller when receding to the back. However, the table is tilted, as if the objects are going to fall. Joseph is portrayed in the right side panel as a carpenter. He is making a mouse trap. Mouses are seen as devils, sho will hurt Jesus.

Royal Portal, details, Cathedral of Notre Dame, Chartres, France c. 1145-1155 CE Gothic Detail of prophets and ancestors Detail of the Tympanum with Christ in Majesty

In the tympanum, Christ is enthroned in majesty, sits in middle surrounded by angels and beasts. He seems more serene and more human in this setting. The prophets and ancestors are high reliefs on the portals, they are both sculptures and architectures. Sculpted figures campy and comfortably fill their architectural settings. The elegantly elongated proportions and linear, but lifelike, drapery of these column statues echo the cylindrical shafts behind them.

Arch of Constantine (using pieces from monuments of Trajan, Hadrian, and Marcus Aurelius)312-315 CEConcrete, brick, marbleRome, Italy[69' x 85' (21 x 26 m)]

It is a compound of architecture and sculpture. As an architecture, it consists of three separate arches: one larger central arch with a shorter and narrower arch (fornix) on either side. All three arches express the same ratio of height and width. Dividing the arches are four detached Corinthian columns in Numidian yellow marble, each stood on a pedestal and topped with an entablature. As a sculpture, there are round low reliefs on the marble panels in total, four on each façade, showing scenes where the emperor is either at war (south side) or conducting his civic duties (north side). These round panels pair with a contemporary relief of line-up of people, which are symmetrically arranged. The two inner central arch reliefs and the upper panel on each side of the arch are part of the Great Trajanic Frieze which was removed from the Basilica Ulpia in Trajan's Forum. The arch is constructed to commemorate Emperor Constantine's great victory over the Roman tyrant Marxiteus. The arch is also a tour de force of political propaganda, presenting Constantine as a living continuation of the most successful Roman emperors, renowned for their military victories and good government.

Casa Rinconada, Great Kiva south of Pueblo Bonito 1050-1100 CE Sandstone and clay mortar Ancestral Pueblo

It is a subterranean circular structure. It is great kiva, which is site for storage, dwelling and public activities. It is also symbol of the cosmos. The structure has been carefully aligned to true cardinality. There are 28 niches and several masonries, created by thick and thin stones. The construction and the T-shape doors suggest this is a ceremonial space. there are six larger and less regularly spaced wall crypts. It contains all features generally associated with great kivas including a firebox, an inner bench, four large seating pits that served as roof supports, two masonry vaults/foot drums, and 34 niches encircling the great kiva. In addition, the kiva includes a 39-foot-long (12 m.) underground passage, three feet deep and almost three feet wide, entering the room from the northern antechamber. The underground passage would have allowed Chacoans, perhaps ritual specialists, to enter the great kiva unseen and then suddenly emerge. During the summer solstice sunrise, a beam of light enters a northeastern opening in the kiva and settles into one of these irregular niches

Pantheon ca. 118-128 CE Concrete, brick, marble Rome, Italy [diameter dome 143'; floor to top 143' (43.5 m)]

It is a temple to the Olympian gods. Pantheon is made of concrete, the bottom is built with basalt, while the top is built with lighter travertine. The material is getting lighter on the top to relieve the weight of the vault. It has a guy, bowl-shaped dome with remarkable coffered vaults on the dome. The light enters the central opening, which illuminates a brilliant circle against the surface of the dome. the central opening is also seen as the path to heaven. the diameter of the dome is same as the height, a sphere can fit in.

Jean Pucelle The Book of Hours of Jeanne d'Evreux, Queen of France c. 1324-28 CE Grisaille, tempera, and ink on vellum Gothic

It is a work of exceptional artistry, both the book and the images are handmade. the figures are rendered in delicate grisaille (shades of gray), giving them an amazingly sculptural quality, and are accented with rich color and touches of lilac and turquoise. The 209 folios include twenty-five full-page paintings with paired images from the Infancy and Passion of Christ and scenes of the life of Saint Louis, the queen's ancestor. In the margins, close to 700 illustrations depict the bishops, beggars, street dancers, maidens, and musicians that peopled the streets of medieval Paris, as well as apes, rabbits, dogs, and creatures of sheer fantasy. The portable size makes it an accessory of the owner, used a few times every day by the queen.

Anthemius of Tralles and Isidorus of Miletus Church of Hagia Sophia, Constantinople (Istanbul) 532-537 CE (with later additions, incl. minarets) Interior

It is an enormous structure, instead of having long and narrow nave, it has enormous inner space. It has a semi-spherical dome and vast arcades and apse. The increasingly higher dome structure is a chain to heaven. Not look like a church, but Parthenon.

Standing Buddha, Altarpiece 524 CE (Northern Wei dynasty) gilt bronze Chinese

Maitreya, the Buddha of the Future, stands against the glittering background of a mandorla. With hand gestures, he reassures the worshippers and promises to grant their wishes. Two bodhisattvas stand at the Buddha's side, and two sit at his feet. Four offerers, perhaps Tuoba in their nomadic dress, hold bowls. Two thunderbolt bearers guard the corners of the altarpiece; two lions sit on either side of the incense burner, below the Buddha. Nine music-making angels alight on the rim of the mandorla. The images, particularly that of the Buddha, display elongated narrow bodies swathed in several layers of clothing. The careful delineation of the pleats and folds render a sense of naturalism and enhances the Buddha's deity. His calm and gracious smile reassures the worshippers and promises to grant their wishes.Only the face and hands emerge as focal devotional points. Tension, vigor, and dynamism are strongly expressed by the decorative patterns formed by the flickering flames and the angels' fluttering ribbons that taper off in space. The whole sculpture shows symmetrical aesthetics, the central Buddha figure against the glittering background of mandorla creates a sense of harmony. It serves as an altarpiece, worshippers bow in front of the Buddha to make wishes.

Muhammad Ibn al-Zain Baptistery of St. Louis c. 1300 CE Brass, inlaid with silver and gold Syria or Egypt, Islamic

Master metal craftsman Mohammed ibn al-Zain created this brass basin during the Bahri Mamluk reign (1250-1382). Inlaid with silver and gold, the basin's wide central, outer band depicts a finely crafted procession of Mamluk emirs, or officials, among them a mace-bearer (jumaqdâr), ax-bearer (tabardân), and bow-bearer (bunduqdâr). Four horsemen in roundels punctuating the procession of dignitaries may be personifications of different aspects of furusiyya, or "horsemanship." Friezes of animals and coats-of-arms frame this exterior band and decorate the basin's interior as well. The basin is an example of an object produced for one ceremonial context

Section of Night Attack on the Sanjô Palace (handscroll) late 13th cent. CE, Kamakura period ink and pigments on paperJapanese[16 ¼'' x 23' (41.3 cm x 7 m)]

Night Attack on Sanjō Palace depicts the kidnapping of the ex-Emperor Shirakawa by the Minamoto warriors and their noble ally Fujiwara no Nobuyori, opening with the chaotic procession of the nobles on ox carts, surrounded by warriors on horseback. While deploying conventional bird's eye perspective, the anonymous painter of the Heiji Scrolls introduced a new technique to divide the foreground and the background of one pictorial space into different scenes, enabling a seamless visual narrative clearly indicative of spatial and temporal progress. This is most obvious in the middle in which one sees Fujiwara no Nobuyori holding a bow and arrows, ordering the Minamoto troop in the background to attack the palace. In the foreground, court ladies can be seen mourning. The contrast between masculine power and female passivity continues as one witnesses further violence to the left side of this scene, culminating in the dramatic depiction of the burning palace behind the fighting warriors. Because of the meticulously rendered details, the Night Attack volume is also an important visual record of the weapons and armors worn by the samurais of the Kamakura period.

Mimbres bowl from New Mexico, USA 850-1050 CE Ceramic and slip Mimbres culture

People project and share their views of world on domestic objects, like bowls. The shape of the bowl suggests their view of the world. The bird is highly stylized. The bird's head facing to one side, wings outstretched, how beak points to right, intrsucts a sense of directionality. The triangle torso of the bird is fill with parallel lines, they constantly cycle around instead of dead position, which implies creation and death of worlds was a continued process. The fine lines surrounding the bird's torso work int a harmonious way, implying there is a sense of control and balance. The rim line is border or boundary that contain figures or worlds. Bird is a common motif in Mimbres art, which symbolize horizon. Various brushstrokes are used to decorate. Lines are sharply drawn and well controlled. The 3Dspace of the bowl is the painting surface. The tension of dark and light motifs suggests an energetic struggle of opposing forces. The nonobjective designs surrounding the bird split into four sections, they are not symmetrical, but achieve a sense of balance through delicate arrangement. Fine lines alternating in a more solid way also imply the social balance.

Al-Idrisi (artist and cartographer from Islamic Spain) Map of the World mid 12th century CE parchment, pigments, ink Islamic

Sea is a constant motif in Islamic Art. They sea ocean as a space of network, not a border but a space of interaction. It is oriented with South at the top.

Linga, Shiva's Aniconic Symbol 8th cent. stone Indian [h. 2 ½'' (6.4 cm.)]

Shiva has often been described as the 'erotic ascetic', who is promiscuous and also the celibate yogi, meditating in the Himalayas. His anthropomorphic image serves only as embellishments on temple walls, they are never objects of actual worship. linga is the sign of power and potential of God. It symbolizes Shiva's capacity to produce life itself.

Colossal Statue of Constantine the Great, from Basilica of Maxentius and Constantine 325-326 CE Marble Rome, Italy[height head 8'6'' (2.6 m)]

Stylistically, this image shows a synthesis of some elements of individualistic portraiture (the hooked nose, for example); at the same time it illustrates the trends in late Roman works to focus on symbolic and abstracted elements: the "image" of authority or the "image" of spirituality, as indicated by the large otherworldly eyes. its larger-than-life eyes gaze toward eternity from a rigidly impersonal, frontal face. The treatment of the head shows a synthesis of individualistic portraiture: aquiline nose, deep jaw and prominent chin characteristic of all images of Constantine, with the trends of Late Roman portraiture which focus on symbolism and abstraction, rather than detail. The scale of the head conveys the power of Constantine.

Giotto di Bondone Virgin and Child Enthroned 1305-1310 Tempera and gold on wood Italian

The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures. The throne Virgin sits on create a sense of there diemsionality. The saints surround the Virgin and the Christ get smaller when receding backward, this technique renders a sense of space also. both the gold coloring used throughout the artwork and the flattened gold background suggest the deity of Virgin and child. The extended hand of Jesus suggests that he is blessing. The proportions of Jesus- imitating proportions of a baby not an adult, bit still have a serious facial expression.His figures are weighty and are reminiscent of three-dimensional sculptures, such as that in classical Roman sculpture. He uses the contrast of light to achieve a sense of volume in his characters. Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric. Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.

Pont du Gard, aqueduct 1st cent. CE limestone， Nîmes, France[height above river 160' (49 m), width of road bed on lower arcade 20' (6 m)]

The arch consists of two supports, called piers, each topped by a platform called an impost. Angled blocks of brick or stone, called voussoirs [voo-swars'], are placed on the imposts in an arched, curved pattern that is capped by the central block of the arch called the keystone. A row of arches is called an arcade. Arches allowed the Romans to create wider, taller, and lighter structures. The Romans used arch in the construction of aqueduct. An aqueduct or "conductor of water" brought water into cities from vast distances. The bridge consists of three tiers of arches, with smaller arches on the top tier. The semi-circular arch shapes repeat in a regular rhythm horizontally across the river and conform to aesthetics. An irregular rhythm is created vertically because there are more smaller arches in the top arcade than are in the two lower tiers of larger arches. But the important supportive piers of all three tiers do line up vertically so that the weight of the entire structure is properly supported.

Trumeau with Jeremiah, St. Pierre, Moissac, France c. 1115 CE Romanesque

The artist has very little interest in human anatomy, the figure has been stretched to fit the trumeau. The body of the Saint is structured in a way not possible to walk ( the feet turn inward) The front of the trumeau has three sets of crossed lions. The lions create a gently scalloped contour along the sides of the trumeau, mirroring the the deeply scalloped jambs on either side of the portal. On the right side of the trumeau, is the sculpture of the prophet Jeremiah. The elongated body and graceful cross-legged posture rises and falls above the over-sized feet to match the scalloping on the front of the trumeau. The hair and beard are stylized plaits formed of groups of incised parallel lines. The stylized drapery clings to the body. The face, unusually well preserved for a sculpture positioned so easily within reach of vandals, is delicate and expressive. His eyes are half lifted, suggesting he is communicant with God. The entire effect is not one of portraiture, but instead one of idealized spirituality and reflection. Besides decoration, the trumeau has a structural function to support the lintel.

Commodus as Hercules c. 191-192 CE Marble Rome [height 46 ½'' (118 cm)]

The bust is one of the most famous masterpieces of Roman portraiture and depicts the emperor in the guise of Hercules, whose attributes he has been given: the lion's skin over his head, the club in this right hand, and the golden apples of Hesperides in his left hand as a reminder of the Greek hero's feats. These attributes are associated with the Greek myths. Hercules was not always a good guy, He realizes what he has done was wrong and goes to Apollo (who apparently gave good advice) to help him pay for his sins, so to speak. Apollo commanded the hero to do certain tasks as a punishment for his wrongs, so that the evil might be cleansed from his spirit.Hercules was required to complete ten labors and was sent to King Eurystheus, who decided Hercules' first task would be to bring him the skin of an invulnerable lion which terrorized the hills around Nemea.The incredibily well-preserved bust is placed on a complex allegorical composition: two kneeling Amazons (only one is well-preserved) besige a globe decorated with the signs of the zodiac hold aloft a cornucopia, which is entwined with a pelta, the Amazons' characteristic shield. The celebratory intent that, through a wealth of symbols, imposes the divine cult of the emperor, is further underlined by the two marine Tritons flanking the central figure to express his apotheosis. On the base of the bust we can see what is an Amazon woman. This represents the killing of the amazon women and Commodus' defeat of the enemy who lived there. There should be two women but one is broken off. In the middle of the amazon women is an amazon shield being wrapped by a cornucopia, a horn of plenty. It is full of fruit and it is to represent prosperity, fertility, and abundance!

Equestrian Statue of Marcus Aurelius c. 176 CE Bronze, originally gilded Rome, Italy[height 11'6'' (3.5 m)]

The horse, caught in motion, raises its right foreleg at the knee while planting its left foreleg on the ground, its motion checked by the application of reins, which the emperor originally held in his left hand. The horse's body—in particular its musculature—has been modeled very carefully by the artist, resulting in a powerful rendering.The horseman sits astride the steed, with his left hand guiding the reins and his right arm raised to shoulder level, the hand outstretched.

Empress Theodora and her Attendants, at the Church of San Vitale in Ravenna, Italy c. 547 CE Mosaic Byzantine

The mosaic shows the Empress stand with two religious figures and her attendants. This mosaic upholds the Empress to be powerful, like most Byzantine works that show rulers, church, and religious figures to be. She is slightly taller than all the other figures, positioned near the middle of the painting, nearly separate from the clusters of people on either side of her. The tall, straight stance of the figures also conveys a feeling of authority. Heirarchy is also shown through the other figures as well; the Empress's lesser attendants stand more crowded than the two religious figures on her other side. Another key element of Byzantine art found in Empress Theodora and her Attendants is the use of luxurious color. Another key element of Byzantine art found in Empress Theodora and her Attendants is the use of luxurious color. Empress Theodora wears delicate jewelries. The artist attempts to use different colors to convey a sense of space. The details of the drapery are articulated.

Attributed to Toba SojoScene from Frolicking Animals (handscroll) 12th cent. CE, Heian periodink on paperJapanese[height 12'' (30.5 cm]

The most celebrated first volume depicts anthropomorphized rabbits, frogs, and monkeys engaging in amusing activities that can be interpreted as caricatures of human life and society. The artist's mastery of brush technique, unmistakable in the brisk and confident brushstrokes, simultaneously captures the essence of animal forms and transforms them into humorous humanized actions. It is monochrome painting that emphasizes the loose and cursive brushstrokes. Also, the artist built tension and sense of animation, when the views unrolls the scroll from right to left, the characters are moving toward right. The frog Buddha, sitting on an altar, being prayed by high-ranking monkey priest, dressed in a long robe. This scene imply religious practice and social codes . Different animals suggest a mix of social classes.

Seated Buddha, Cave 20, Yungangbegun ca. 460 CE (Northern Wei dynasty)StoneNorth of Datong, China [height 45' (13.7 m)]

The seated Buddha is about 13.7m high, and he sits with his legs crossed and in a mediation posture. He has relatively rounded face and huge ears. There are small buddha figures and decorative patterns on the mandorla. His face has angular and geometric qualities.

Annunciation (left) and Visitation (right) of Central Portal, Reims Cathedral Mary (left) c. 1240; Angel c. 1250; right pair c. 1230 CE Gothic

The two figures on the left depict the annunciation with Gabriel looking at the Virgin Mary, the figures on the right represent the visitation of Mary to Sanit Elizabeth. The figures are characterized by deep swaths of drapery, slender and graceful bodies that elegantly bend and sway, and sweet, serene faces that almost seem to smile. The figure of St. Elizabeth is especially notable for her individualized expression which shows a weariness and age that indicates a renewed interest in observation of facial types in nature.

Interior of Chartres Cathedral looking east, France 1194-c. 1220 CE Gothic

There is a long central nave, with arcade on each side. There are choir, apse, and altar at the end of the nave. The central aisle of the nave is covered with Rib vault, in which the diagonal ridges rest on and are covered by ribs. The ribs provided strength at the intersections of the webbing to channel the vaults' thrust outward and downward o the foundations. They also add decorative interest. The ribbed vaults allow the eye to run smoothly down the length of the vault and from vault to vault down the expanse of the nave. There are triforiums, a decorative structure, is a shallow arched gallery within the thickness of inner wall, which stands above the nave.

Wall with Torah Niche, from a House-Synagogue 244-245 CE tempera on plaster (fresco) Jewish, Dura-Europos, Syria[length section approx. 40' (12.19 m)]

These wall paintings are not buon or true fresco painting. The paint was probably applied when the plaster was already dry with tempera paint. Tempera is a combination of ground pigments (made from minerals usually) egg and sometimes a bit of glue made from animal hide or dairy products. This kind of "fresco" is closer to fresco secco. The wall is arranged almost like a comic book with episodes framed with squared off geometric frames. Within each of the frames are wavelike patterns. In the center of the main altar wall is a niche (a semicircular indentation very similar to the Islamic mihrab) that would have been used to hold the sacred scrolls of the Torah. The over all design of the synagogue (temple) is based on secular architecture. It was once a private atrium style house with a central courtyard. Iconography: The placement of the Torah in a niche at the center of the wall full of narratives focusses the worshippers on the book from where the illustrations were inspired. The Torah is a sacred scroll that is created in a similar way to the manner in which the Islamic Koran is created. Placing it in a special setting is symbolic of its status in Jewish worship.

Yan Liben Section of Thirteen Emperors (handscroll)7th cent. CE (Tang dynasty)Ink and pigments on silkChinese[51.3 x 531 cm]

Thirteen emperors from different dynasties are painted on one scroll. Each emperor is accompanied by two attendants. The emperors are taller and chubbier than the attendants, which may imply the status. The emperors are placed in a confined space, there is no background or an environment. There is no link among the emperors. the figures are full, the robes ample, the brush-line fluent and of even thickest. Arbitrary shading is used with great resistant to give volume to the faces, more generously in the folds of the robes. There are inscriptions next to each emperor, pointing out the identity of each emperor. The emperors are characterized by concise, smooth and sturdy strokes, serene and elegant coloring, and generalizing power. The facial expressions of the emperor are calm and serious, conveying the power of an emperor. Their gestures show a sense of movement, all the emperors are walking toward right.

Apollodorus of Damascus  Trajan's Basilica Ulpia (ground plan on Forum and reconstructed views )dedicated 112 CE Rome, Italy

This basilica—the largest in the city—was part of Trajan's Forum and was probably completed in A.D. 112. It was rectangular in shape, had five aisles and apses at the short ends.

Attributed to Emperor Huizong Section of Court Ladies Preparing Newly Woven Silk (handscroll) early 12th cent. (Northern Sing dynasty)Ink, pigments, and gold on silk Chinese [copy after a Tang-dyn. Painting; 14 ½'' x 57 ½'' (36 x 145.3 cm)]

This scroll depicts three groups of ladies working on newly woven silk, namely pounding, sewing and ironing silk. Two young maids assist the ladies by keeping the charcoal hot and the silk stretched; a little girl amuses herself by horsing around. Gongcan (palace sericulture) was a symbolic imperial duty performed every spring by the empress. In this ritual, she would lead palace ladies in all stages of silk production, from raising the silkworms to making dresses from the newly woven material. There is no background or any setting, all the figures are confined in a sealed environment, making the totality less naturalistic. The clothes and the hair styles make the court ladies individualized and also reflect the prosperous culture of Northern Song Dynasty. Although the figures look naturalistic, they have no motions, no emotions. The behaviors of the court ladies are ideal. The ladies who beat the silk seem to pose instead of doing real work. They are all in vertical positions and they do not interact with each other. The two kids are the exceptions, they are not in perfectly vertical positioning. There are two ducks in the image on the fan held by the child. Chinese artists used nature to symbolize human traits and relationship, the two ducks represent a couple.

Virgin and Child ('Throne of Wisdom') Late 12th cent. Walnut with polychromy, tin leaf, linen [h. 27'' (68.6 cm)] Romanesque

This state shows the formal relationship between Mary and Christ, instead of mother-child relationship. Mary is the throne Christ sits on, ignoring her mother identity. The proportions of Jesus are just like a mature man, who has short cropped hair and serious facial expressions. Even though he is held on the lap of Mary, this is not baby Jesus, but Jesus with wisdom. Jesus holds a Bible in her left hand and outstretches his right hand to bless, implying he is not a baby. The statue is carried and processed on the altar of the church, suggesting they are active agents. The head of Mary is attached, Mary would be dressed with real clothes to activated the figure. This serves as an actual dwelling place of saint, the relic is put inside, since there is a circle plug hole on Mary's left shoulder.

Tympanum showing Christ in Majesty, St. Pierre, Moissac, France c. 1115 CE Romanesque

Tympanum is a semi-circular panel above the portal entering the church, an element of a Romanesque portal. In the very center of the composition is the figure of Christ, seated on a throne, with his right hand raised in gesture of blessing. In his left hand he balances a book on his knee, perhaps a reference to the Book of Revelation. His circular halo is inscribed with a cross. Christ is surrounded by four Evangelists, who are not in a form of simple self, but in the form of beasts. Matthew is the man, John is the eagle, Mark, is the ox and Luke is the lion. the twenty-four elders are now the voussoirs in the archivolts. The wave-like structure stratifies the reliefs into several registers, conforming to the hierarchical scale.

Portrait of a Couple (Terentius Neo and His Wife) Mid 1st cent. CE Fresco Pompeii, Italy [height 25 1/2" (64.8 cm)]

We see they were wealthy and educated. He is dressed in a toga and displays a papyrus scroll with a red seal. His wife is wearing a tunic and mantle and has a hairstyle that was popular in the middle of the first century. Pressed to her chin is a stylus, which is used to make notes on the wax-coated double-leaved wooden tablet which she is holding in her left hand. The couple appear holding writing materials suggesting that they are literate and cultured. Importantly their pose and presentation suggests they are equal partners, both in business and in life.

Wutaishan Pilgrimage Map Cave no. 61  907-960 (five dynasties period) wall painting Dunhuang, China

Wutaishan is believed to be the earthly abode of the Bodhisattva of Wisdom. This wall painting is a combination of real image and imagined image. There are many monitories along the path up to the mountain. Human figures are also carefully portrayed. It is not really naturalistic, the hills are reduced to triangles, and the ridges of the mountain are displayed by thick lines. The path along the mountain are portrayed with zigzags. The use of vivd colors infuse a sense of vigor and dynamism. The The pilgrimage map enables people to take a virtual tour to the abode of the Bodhisattva of Wisdom. The viewer's ritual performance is activating the image by paying homage to this wall painting. The map is painted on four walls. The ceiling is a slope, directing to a well on the top, implying the map is leading the worshippers to heaven.

Augustus of Primaporta Early 1st cent. CE Marble, originally colored Found in Livia's villa in Primaporta, near Rome, Italy[height 6'8'' (2.03 m)]

a large-than-life marble statue, standard pose of a Roman orator, the chest plate also suggests that he is a general. It is an idealization of the ruler, It combined both Greek and Roman traditions. His arm is outstretched and slightly raised, a pose expressive of rhetorical persuasiveness. The emperor wears military regalia and his right arm is outstretched, demonstrating that the emperor is addressing his troops. We immediately sense the emperor's power as the leader of the army and a military conqueror.Delving further into the composition of the Primaporta statue, a distinct resemblance to Polykleitos' Doryphoros, a Classical Greek sculpture of the fifth century B.C.E., is apparent. Both have a similar contrapposto stance and both are idealized. That is to say that both Augustus and the Spear-Bearer are portrayed as youthful and flawless individuals: they are perfect. The Romans often modeled their art on Greek predecessors. At Augustus' right leg is cupid figure riding a dolphin. The dolphin became a symbol of Augustus' great naval victory over Mark Antony and Cleopatra at the Battle of Actium in 31 BCE, a conquest that made Augustus the sole ruler of the Empire. The cupid astride the dolphin sends another message too: that Augustus is descended from the gods. Cupid is the son of Venus, the Roman goddess of love. Julius Caesar, the adoptive father of Augustus, claimed to be descended from Venus and therefore Augustus also shared this connection to the gods. Augustus is wearing a cuirass, or breastplate, that is covered with figures that communicate additional propagandistic messages. Augustus has the gods on his side, he is an international military victor, and he is the bringer of the Pax Romana, a peace that encompasses all the lands of the Roman Empire. Overall, this statue is not simply a portrait of the emperor, it expresses Augustus' connection to the past, his role as a military victor, his connection to the gods, and his role as the bringer of the Roman Peace.

Cathedral of Notre Dame, Chartres, France West façade begun c. 1134 Gothic

a massive structure, dominate the horizon -a stigma of great power -flying buttress- allow the wall to dissolve, horizontal thrust. - tall narrow facade is composed of a great many vertical elements emphasized by the shape of the tympana, the pointy gables, the plethora of pinnacles, the clusters of slender colonnettes all pointing repeatedly to heaven. This church embrace Gothic characteristics, airy and delicate, seem to be bound for the heavens. With great height and very thin walls, the verticals so incessantly accented, the buildings appear to soar upward.

Jan van Eyck Arnolfini Portrait 1434 Oil on wood Netherlandish [82.2 x 60 cm]

almost every object portrayed conveys the event's sanctity, specifically, the holiness of matrimony. Arnolfini and his bride, Giovanna Cenami, hand in hand, take the marriage vows. The cast-aside clogs indicate this event is taking place on holy ground. The little dog symbolizes fidelity (the common canine name Fido originated from the Latin fido, "to trust"). Behind the pair, the curtains of the marriage bed have been opened. The bedpost's finial (crowning ornament) is a tiny statue of Saint Margaret, patron saint of childbirth. From the finial hangs a whisk broom, symbolic of domestic care. The oranges on the chest below the window may refer to fertility, and the all-seeing eye of God seems to be referred to twice. It is symbolized once by the single candle burning in the left rear holder of the ornate chandelier and again by the mirror, where viewers see the entire room reflected. The small medallions set into the mirror's frame show tiny scenes from the Passion of Christ and represent God's ever-present promise of salvation for the figures reflected on the mirror's convex surface. Van Eyck enhanced the documentary nature of this painting by exquisitely painting each object. He carefully distinguished textures and depicted the light from the window on the left reflecting off various surfaces. The artist augmented the scene's credibility by including the convex mirror, because viewers can see not only the principals, Arnolfini and his wife, but also two persons who look into the room through the door. One of these must be the artist himself, as the florid inscription above the mirror, "Johannes de Eyck fuit hic," announces he was present. The picture's purpose, then, seems to have been to record and sanctify this marriage.

Lambayeque Funerary Mask 900-1100 CE (Late Intermediate Period) Gold alloy, with added materials Andean

control of color on this mask mixture of gold, copper and silver. The application of alloy trough a process of Depletion guilding. -> secondary material is selectively removed with acid to achieve more pure gold color, then painted upon it. the gold surface is not even visible. Then ornamented with precious stones and materials. multiple layers to make it more appealing to audiences. This is an art of lords and elites.

Tale of Genji, detail from Kashiwagi Chapter (handscroll) 12th cent. CE, Heian period ink and pigments on paper Japanese[8 5/8'' x 18 7/8'' (21.9 x 47.9 cm)]

depicting Genji in his late forties, narrates an episode in which the Third Princess, one of Genji's consorts, confesses her adultery and her decision to become a nun due to her guilt. The image shows Genji delicately holding the Third Princess's baby and her lover Kashiwagi. Kashiwagi was the best friend of Genji's oldest son, but recently died due to his sinful agony, thus the scene tangibly depicts Genji's sorrow over Kashiwagi's death and Princess's departure as well as his benevolence in accepting the now fatherless baby as his own son. In the painting, the face of Genji is rendered in the simplified generic hikime kagihana ("a line for the eye, a hook for the nose") style, and the dramatic emotions are instead conveyed through the multi-layered rich colors, known as tsukuri-e ("constructed painting"). Since most valuable pieces in Heian Period were produced by women, the rich colors are also a distinctive feature of the "feminine painting." In order to make the indoor scenes visible to the viewer, the artist devised the "blown-off roofs" technique, in which the ceilings and roofs of buildings are omitted from the bird's eye view. While grasping the elegance of the Heian court life in the intricate details of garments, screens and fabrics. The artist also explored the destabilizing effects of the diagonal, asymmetric composition that pushes the figures to one corner.

Shiva as Lord of Dance (Nataraja) c. 11th cent. (Chola period) Copper alloy Indian

it comes as close to being a summation of the genius of the Indian people as any single icon can. Shiva constitutes a part of a powerful triad of divine energy within the cosmos of the Hindu religion. In Hindu religious philosophy all things must come to a natural end so they can begin anew, and Shiva is the agent that brings about this end so that a new cycle can begin.Shiva is encircled by the cosmic circle of fire, which is a symbol of cosmos of mass, time and space, whose endless cycle of regeneration moves in tune to the beat of Shiva's drum and rhythm of his steps. He has two pairs of hands, her hands gestures conform to the motifs of Buddhism "be not afraid and spiritual grace." Shiva's right foot stands upon the huddled dear, the demon Apasmara, the embodiment of ignorance. Shiva's hair, the long hair of the yogi, streams the long hair of the yogi, streams out across the space within the halo of fire that constitutes the universe. Throughout this entire process of chaos and renewal, the face of the god remains tranquil, (in mediation) implying the eternal essence and grace of Shiva. (symbolism and religious significance) Through symbols and dance gestures, Shiva taught the illustrious gathering that he is Creator, Preserver, and Destroyer.

Wari Tunic 500-800 CE (Middle Horizon Period) Camelid fiber and cotton Wari, Andean

geometric shapes to represent icons. basic elements are self-bearing and anthropomorphic patties. colorful, red, black, orange, yellow far less legible - really hard to understand. The elements have symbolic roles to maintain an integrity. purpose of the garment- aesthetics or decode, obscured

Lanzón, Chavin de Huantar, Peru c. 900 BCE (Early Horizon Period) granite Chavin, Andean

housed in labyrinth in heart of passageway. the only way to approach it physically is to pass through the dark passageway. It is carved on all four sides and there is slight depression toward the ceiling. Furthermore, it is imbedded in environment. It is interpreted as a principle deity of Chavin, a symbol of trade, fertility and humankind's interaction with nature. depicts a human-feline hybrid with claws, writhing snakes for hair and eyebrows, fangs curved sideways in a smile (thus the nickname 'Smiling God'), and one arm raised while the other is lowered. (a lance-shape obelisk)

Hubert and Jan van Eyck The Ghent Altarpiece 1432 Oil painting on wood Netherlandish

the polyptych consists of twelve panels mounted on hinges, of which eight are painted on both sides. As soon as the polyptych is opened, the viewer is dazzled by an explosion of red and green colour pigments. The pictures themselves are laid out in two registers or tiers. In the top tier, comprising three central panels and two wing panels at each end, we see an enthroned Christ the King, flanked by the Virgin Mary and John the Baptist. To offset the austere gravity of this central trio, they are flanked by paintings of angels singing and playing the organ. The angel's clothes, instruments and surroundings are depicted in meticulous detail. Jan van Eyck's masterly use of oil paint creates tiny vibrations of light within the dense, saturated colours, most of which are full of symbolic significance. The beauty of the fabrics and the musical instruments demonstrate the creative capacity of man, which in turn alludes to the overarching role of the Creator himself. At either end of the upper tier, Van Eyck painted two stunning life-size portraits of Adam and Eve, depicted with extraordinary naturalism. The centre of the lower tier, underneath the upper trio of Jesus, Mary and John, features a single large painting, from which the altarpiece takes its name. It shows the Eucharistic sacrifice of the Mystic Lamb (the symbol of Christ), placed on an altar surrounded by fourteen angels and set in a fertile meadow hedged with bushes, on the outskirts of a city. Four groups approach or occupy the meadow.

Apollodorus of Damascus， Column of Trajan113-116 or after 117 CEMarbleRome, Italy[overall height with base 125' (38 m); column alone 97'8'' (29.77 m); length relief 625' (190.5 m)]

the relief decoration of the Trajan's column spirals upward in a band. The relief on Trajan's column portrays two military campaigns against the Dacians. From the preparation for the army to the engagement on the battlefields to their ultimate victory, it is a continuous narrative without any breaks. Meanwhile, the column records each stage of the military campaign, instead of emphasizing one particular scene. The higher scenes of the Trajan's column are barely legible from the ground and the observers are not expected to read each detail. However, the continuous frieze and the numerous figures give observers an impressive visual effect. This work's ultimate significance lay in its commemorative totality, instead of individual detail.

The Arch of Titus & detail from passageway with the Spoils from the Temple of Jerusalem c. 81 CE (restored 1822-1824) Marble Rome, Italy[height arch 50' (15 m); height detail 6'8'' (2.03 m)]

the triumphal arch- part architecture and part sculpture. It commemorates a triumph, or formal victory celebration. The triumphal arch was built in 81-85 AD to commemorate the capture of Jerusalem over the Jewish Zealots. It constructed of concrete and faced with marble. At the inside of the arch are two panels with high reliefs. One depicts the triumphal procession with the spoils taken from the Second Temple in Jerusalem. The other one shows Titus in a chariot accompanied by the goddess Victoria and the goddess Roma. The inscriptions in the frieze which mean 'The Roman Senate and People to Deified Titus, Vespasian Augustus, son of Deified Vespasian' were originally in bronze. The reliefs were also colored and the arch was topped by a bronze quadric. The arch demonstrates how power articulates itself through this life lasting monument.