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53 Cards in this Set
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Head of an Akkadian Ruler Akkadian Period, C. 2300 BCE (Mesopotamia) Significance: - Unknown if Sargon or successor - First large scale example of cast metal work - First indication of large scale portrait sculpture - Ritually defaced, following a long history of disgracing previous ruler ---eyes, nose, ears - implies its done to actual ruler |
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Alabaster disc depicting Enheduanna sacrificing to Inanna from Ur, Akkadian Period, c.2300 (Mesopotamia) Significance: - Sargon's daughter, high priestess -- great deal of authority - first woman we know anything significant about, first woman author ---- Extensive prayer - disc dedication of something she built, indicating patronage |
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Victory Stele of Naram-Sin, found at Susa, Elam, Akkadian Period, c. 2200 B.C. (Mesopotamia) Significance: - Grandson of Sargon, viewed as bad (in hindsight) - evidence of development of iconography connected w/ empire - Communicating Naram-sin victory, first depiction of landscape, communication of 3d space - Symbol for Amash above shows Naram-sin as king below him, but above everyone else - crown with horns symbol of divinity - unusual to show king actually battling before this, N-S with spear in someone's throat -- compare to eanatum stele |
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Nanna Ziggurat of Ur-Nammu, Ur, Ur III period, c. 2100 B.C. (Mesopotamia) Significance: - one of the largest built and best preserved (though heavily reconstructed by the French) - Sumerian moon god - baked brick construction with interior unbaked brick - architectural disaster waiting to happen, rain soaks into unbaked bricks, crumble with dried moisture |
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Statue of Gudea of Lagash, Ur III period, c. 2100 B.C. (Mesopotamia) Significance: - most depicted individual prior to Alexander the Great - presumably placed in temples, major patron of temples & gods - hands clasped in prayer. Used as connection with gods. |
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Palace at Mari, Old Babylonian Period, c. 2000-1700 B.C. (Mesopotamia) Significance: - Zimri- Lin kingdom - Destroyed around 1700 by rulers of Babylon - Trading nexus, large archive of tablets - Festivals: largest one to Ishtar/Inanna |
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Palace at Mari Reconstruction Old Babylonian Period, c. 2000-1700 B.C. (Mesopotamia) Significance: - Zimri- Lin kingdom - mud brick, 2 stories - restrictive control over access - Destroyed around 1700 by rulers of Babylon - Trading nexus, large archive of tablets - Festivals: largest one to Ishtar/Inanna |
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Investiture of Zimri-Lim, Palace at Mari, Old Babylonian Period, c. 2000-1700 (Mesopotamia) Significance: - Inside portion is key ---- ceremony in which Inanna gives Zimri-Lim office - rod and ring, symbols of office - indicate gods approve of his rulership |
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Statue of water-pourer, Palace at Mari, Old Babylonian Period, c.2000-1700 (Mesopotamia) Significance: - 3D rendering of the lower part of the investiture - horns=divine being, wavy lines on body suggest spilling water - part of an overload of visual media, senses when entering palac - smell and noise |
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Plaque with nude goddess (Ereshkigal?) Old Babylonian Period, c. 1750 B.C. (Mesopotamia) Significance: - Not much known about context - Standing on lions, symbols for Inanna, but she is never shown with talons or wings - Reflects story of Ishtar, Ereshkigal, and Demuzi (Ishtar hubby) ----Ereshkigal goes to underworld to get back Ishtar |
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Stele of Hammurabi, Old Babylonian Period, c. 1792-1750 B.C. (Mesopotamia) Significance: - misunderstood as "law code," not every law. Collection of legal decrees and discussions. - Sun god, Shamash - giving Hammurabi rod and ring, granting him office - Probably a visual symbol for those who can't read, actual text just reference and not as important to the viewer as people think - Gives idea of how society was structured |
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Molded brick façade of the Temple of Inanna, Uruk, Kassite Babylonia c. 1415 B.C. (Mesopotamia) Significance: - Earliest example of molded brick decoration - Male and female figures in niches, long flowing robes, holding vessels spilling water (mountains, home of the gods) - reminiscent of palace at Mari figures |
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Kudurru (boundary stone) with symbols of Mesopotamian deities, Kassite Babyonia, c. 1300 B.C. (Mesopotamia) Significance: - Boundary stone for fields, property, legal marker, temple/precinct - Most were clay or natural stone, this one fine stone -- to expensive for field, likely temple precinct - records donation - series of curses for breaking agreement/standing - symbols for Meso deities, Gula, Shamash + Sin, Ishtar (venus), An/Enlil |
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Temple D, Ebla (Tell Mardikh), Syria, Middle Bronze Age, c. 1800 B.C. (Levant) Significance: - Stone structure, unsure of deity - Entry leads directly to main chamber and deity, opposite of layout of Mesopotamian temples (White temple, Anu ziggurat - side entrance) |
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Ceremonial mace with name of Egyptian pharaoh from tomb of Eblaite ruler, Middle Bronze age, c. 1750 B.C. (Levant) Significance: - Evidence of cultural connection/exhange with Egypt - Tomb of Syrian King - Symbolic/decorative -Gift exchange, art objects. Upper classes in Ebla adapt Egyptian artistic forms |
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Temple of Reshef (a.k.a. “Temple of the Obelisks”), Byblos, Middle Bronze Age c. 2000-1800 B.C. (Levant) Significance: - Reshef war god, popular in Levant, later worshipped in Egypt - Obelisk most common form of dedication, connected w/ Egypt - long tradition of non-humanoid representation, iconic |
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Votive figurines, from Temple of Reshef (Obelisks) Byblos, Middle Bronze Age c. 2000-1800 B.C. (Levant) Significance: - Found in niches of obelisks to Reshef - move toward interest in abstraction - conical hat and hilt look egyptian, as do poses -- artist aware of Egyptian trends |
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Pendant of Ip-Shemu-Abi, from Royal necropolis at Byblos, Middle Bronze Age, c. 1800 B.C. (Levant) Significance: - More borrowing of Egyptian iconography, but used differently - cloisonné - inlaid with semi-precious stones - name of owner given in circular cartouche - Iconography: Scarab ---dung beetle, rolling ball of dung metaphor for moving of the sun Eureus (Cobra) - symbol of protection, guardian - connected w/ sun and sun disc - |
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Levantine vessel with dolphins and waterbirds, found at Lisht, Egypt, c. 1800 B.C. Significance: - Animals/dolphins show connection with Crete/minoans, Greece, Anatolia, Nubia - from a tomb under a house - low class |
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Relief of Maaty, from Thebes, 11th Dynasty, First Intermediate Period, c. 2100 B.C. (Egypt) Significance: - Thebes - political center - doesn't follow canon of proportions - rolls of fat and visible breatst - wealth and excess - sunken relief - burials, less inequality in burials |
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Model soldiers from Asyut, First Intermediate Period, c. 2100-2000 (Egypt) Significance: - Soliders not ethnically Egyptian, seem to come from the Levant - Hiring mercenaries during internal struggles? (non-unified Egypt) |
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Funerary complex of Mentuhotep II, Deir el-Bahri, 11th Dynasty, Middle Kingdom c. 2050 (Egypt) Significance: - first monument of the Middle Kingdom - Never buried here - Hypostyle hall - mastaba type tomb - primordial mound |
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Statue of Mentuhotep II, Deir el-Bahri, Middle Kingdom, c. 2050 B.C. (Egypt) Significance: - Red crown of lower Egypt - claim of unification from Upper Egypt - appears as mummified body (arms across the chest) - connected to Osiris |
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Relief of Princess Kawit, Deir el-Bahri Middle Kingdom, c. 2050 B.C. (Egypt) Significance: - similar to relief of Maaty - Sunken relief - regional style continues even in royal imagery |
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Pyramid of Senwosret I, Lisht, Middle Kingdom, c. 1900 B.C. (Egypt) Significance: - bigger than Pepi, smaller than great pyramids - same size on sides - Tomb is underground in older fashion - pyramid no longer exists like the other - outer casing robbed - standardization |
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Chapel of Khnumhotep, Beni Hasan, Middle Kingdom, c. 1880 B.C. (Egypt) |
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Fowling scene, Chapel of Khnumhotep, Beni Hasan Middle Kingdom, c. 1880 BCE (Egypt) Significance: - Composite perspective - Pool with trap laid out to catch birds - Great naturalism in birds, observation from birds - actively hunting, doing the activity (vs. Ti overseeing) |
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Wrestling Scenes from Tomb 15 at Beni Hasan, Middle Kingdom, c. 1850 B.C. (Egypt) Significance: - unsure of any symbolic meaning - silhouette approach, semi-abstractly - figures are dynamic, different colored to distinguish, overlapping composite pose |
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Model boat, from tomb of Meketra, Deir el-Bahri, Middle Kingdom, c. 1800 B.C. (Egypt) Significance: - Detailed figures - ranked - foreman sitting - major shrine of Osiris at Abydos, part of ritual journey by boat |
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Model house and garden, from tomb of Meketra, Deir el-Bahri, Middle Kingdom, c. 1800 B.C. (Egypt) Significance: - porch area exposed with cover - garden with little trees - |
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Kahun, plan of town and elite houses, Middle Kingdom, c. 1850 B.C. (Egypt) Significance: - Western section for workers, eastern for officials - Residence meant for Pharaoh when he visits Villa: - compare to house model - workers paid in food - 3 gen. of worker families in one house |
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Seated statue of Hatshepsut, New Kingdom, 18th Dynasty, c. 1500 B.C. (Egypt) Significance: - creates fictive genealogy to give right to rule - direct daughter of Amun - Female pharaoh - depictions give more feminine features in face or hints of breasts but never fully feminine depiction - just subtle features - Marries half brother, Thutmose III, rule together |
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Funerary Temple of Hatshepsut, Deir el-Bahri, by Senenmut, New Kingdom, 18th Dynasty, c. 1450 B.C. (Egypt) Significance: - built into cliffs/hillside - creates artificial landscape with increasing terraces - temple to Amun - Originally planned to include a tomb to bury her there, but never happened - plans changed - chapel to Hathor - |
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Temple of Amun, Karnak, New Kingdom, (main phases Dynasties 18 & 19: c. 1500-1200 B.C. (Egypt) Significance: - linked with Amun temple at Luxor b/c of Opet festival - Sphnix avenue (w ram's heads) --- protection - |
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Temple of Amun at Luxor, New Kingdom, c. 1500-1350 B.C. (Egypt) Significance: - Amun voyages from Karnak to Luxor in boat- Queen merges with Amun to create royal ka, Pharaoh merges with royal ka to become son of Amun |
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Statue of Amenwahsu, Priest of Montu, from Thebes, New Kingdom, 18th Dynasty, c. 1400 B.C. (Egypt) Significance: - Montu - bat with ram head god - image with nice and titles as dedication to god - on some columns are hieroglyphs indicating where people need to stand while worshipping |
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Tomb of Amenhotep II, Valley of the Kings, New Kingdom, c. 1425 (Egypt) Significance: - tomb meant to symbolize pharaoh's journey through netherworld - Passage of Ra, Chapel where the god rests, hall of waiting, chariot hall, hall of rest |
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Section of the Amduat from Tomb of Amenhotep II, Thebes, New Kingdom, c. 1425 B.C. (Egypt) Significance: - snake = Apophis, malevolent evil trying to stop Pharaoh travel and sun rising - draws up water in confrontation - forcibly enlist Apophis to drag boat the rest of the way - 12 years (12 hours - nighttime), sun god journeying with pharaoh to join with Osiris |
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Papyrus of Hunefer, Book of the Dead, weighing scene, New Kingdom, c. 1310 B.C. (Egypt) Significance: - Lower class directions for afterlife - Middling bureaucrat - Scene depicts Osiris weighing soul, whether or not he is deserving of being reborn - Judged by Anubis beforehand - Thoth noting result of weighing - Ankh symbol in hand - Hunefer expectations |
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Tomb of Tutankhamun, Valley of the Kings, Thebes New Kingdom, c. 1325 B.C. (Egypt) Significance: - best preserved tomb ever - forgotten about, hidden under rubble and not systematically looted like almost all other tombs - not really an important king back then - Back to older Egyptian tradition after Akhenaten's Aten |
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Golden throne of Tutankhamun, Tomb of Tutankhamun, New Kingdom, c. 1325 B.C. (Egypt) Significance: - made before restoration, still has Tutenkhaten name - legs in front are animals, apotropaic heads - sema-tawy motif - back of throne has him and wife, disc of Aten |
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Funerary Mask of Tutankhamun, Tomb of Tutankhamun, New Kingdom, c. 1325 B.C. (Egypt) Significance: - Guise of god Osiris - made of beaten gold - inlaid with blue, opaque glass - pierced ears and silver false beard - Eureus on forehead, vultures head - back: hieroglyph inscription asking for protection |
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Chest of Tutankhamun, Tomb of Tutankhamun, New Kingdom, c. 1325 B.C. (Egypt) Significance: - side: victorious pharaoh in chariot --- "stock" scene found on temple and in tombs, maybe palaces. Not necessarily historical - ruler personally in battle - Nubian enenemies depicted by darker skin -south |
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Tomb of Nebamun, fowling scene, New Kingdom, 18th Dynasty, c. 1400-1350 (Egypt) Significance: - Removed frescoes from original, unknown location - relatively minor official - Fowling scene very common ---entertainment+ability to provide for family |
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Tomb of Nebamun, banqueting scene, New Kingdom, 18th Dynasty, c. 1400-1350 (Egypt) Significance: - Idealized gathering with ancestors of past and present and future family members - feet variation between men and women deliberate ---naturalism sign of less important people (servants with hands, women with feet) - non canonical proportions applied to nude servants and to musicians |
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Statue of Akhenaten (Amenhotep IV), Amarna Period, c. 1340 B.C. (Egypt) Significance: - Changes religious tradition to focus solely on sun disc - Aten ----just symbol - Amarna style - Distinctive visual traits - long head, arms - features droop, nose and lips long and thick, - long nack and narrow sholders and waist - prominent hips and belly with noticeable fat - Change in canon of proportions -- intentional and from top down - theories of disease, unlikely |
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Bust of Nefertiti, Amarna period, c. 1340 B.C. (Egypt) Significance: - found in house of royal sculpture - elongated neck - model for 19th and 20th cent. artist interested in looking back to roots of civilization |
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Relief stele of Akhenaten, Nefertiti, and their children, Amarna Period, c. 1340 Significance: - Sunken relief - Akhenaten and Nefertiti seated and facing each other with children - 3 daughters (before sons born, middle of reign) - shows a unique parental tenderness not depicted in other egyptian art - |
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Tell el-Amarna, c. 1350-1330 Significance: - Best preserved example of Egyptian city - |
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North Palace at Tell el-Amarna, Amarna Period, c. 1350-1330 B.C. Significance: - axial plan - series of terraces going up (like Hapsetshut) - integrated temple to Aten - Barracks area, specific domestic area for family - day to day space, personal small |
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Frescos from palace at Tell el-Amarna, Amarna Period, c. 1350-1330 B.C. Significance: - brings outdoors inside - Exploration of landscape - Sense of fertility and bounty within palace |
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Kingfisher fresco, from Meruaten complex, Tell el-Amarna, Amarna Period, c. 1350-1330 B.C. Significance: - Reeds and papyrus big with kingfisher diving into pool - evidence of cultivated garden rather than wild - park land around palace cultivated |
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Aten Temple, Tell el-Amarna, c. 1340 B.C.E. Significance: - almost all areas open to air - Aten sun god - no images in temple - new architectural technique - major structures out of small blocks large enough for one man to carry - Talalat blocks - recycled for innards of later buildings |
