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128 Cards in this Set
- Front
- Back
1 |
Aerial View of Stonehenge, Salisbury, England. Neolithic |
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2 |
Apadana (Royal Audience Hall), Palace of Darius and Xerxes, Persepolis, Persian, Mesopotamian. |
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3 |
Ashurbanipal Killing Lions, relief from palace at Nimrud. Assyrian, Mesopotamian. |
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4 |
Bird-Headed Man with Bison and Rhinoceros, (the so-called "Well Scene"), Lascaux, France, Paleolithic, cave painting. |
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5 |
Female Figure from Willendorf, Paleolithic, limestone sculpture |
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6 |
Hall of Bulls, Lascaux, France, Paleolithic, cave painting |
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7 |
Ishtar Gate, (heavily restored), Babylon. Babylonian, Mesopotamian, glazed brick. |
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8 |
Processional Frieze, detail of relief from stairway leading to Apadana, Persepolis, Persian, Mesopotamia |
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9 |
Soundbox of a Lyre from Tomb 800, Sumerian, Mesopotamian, Wood inlaid with gold, shell and lapis lazuli |
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10 |
Spotted Horses and Negative Handprints, cave painting, Pech-Merle, France, Paleolithic |
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11 |
Standard of Ur, Peace Side, Sumerian, Mesopotamian, wood inlaid with shell and lapis lazuli |
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12 |
Stele with Law Code of Hammurabi, Babylonian, Mesopotamian. |
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13 |
Two Bison, Tuc d'Audoubert, France, Paleolithic, unbaked clay |
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14 |
Victory Stele of Naram-Sin, Akkadian, Mesopotamian. |
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15 |
Votive Statues from Temple of Abu, Tell Asmar, Sumerian, Mesopotamian. |
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16 |
Ziggurat at Ur, Neo-Sumerian, Mesopotamian. |
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Iconography |
Analyzing what we see and remembering its context. why it was made, and how it was used. |
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Style |
A set of traits or characteristics of art |
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Context |
The environment in which a work of art is created physical, political, social, religious |
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Sculpture: additive |
when an artist builds up the forms - technique |
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Sculpture: subtractive |
reduction of the original mass -technique |
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Sculpture: casting |
filling a hollow mold with a substance to produced a worked shape -technique |
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Sculpture: relief |
subjects project from the background but remain part of it. - Form - high-relief: image is projected boldly - low-relief: projection is slight |
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sculpture: free standing |
exists independent of any architectural frame or setting. |
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Paleolithic |
old stone age went beyond 'recognition' of human and animal forms to 'representation' |
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Mesolithic |
large food gathering and tamed dogs |
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Neolithic |
development of farming and agriculture anatolia and mesopotamia |
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B.C. |
Before Christ |
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A.D. |
Anno Domini: year of our lord |
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ca. c. |
Circa: approximately |
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abstraction |
freedom from representational qualities in art no subject or setting |
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stylization |
represented in a non naturalistic or conventional form |
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naturalism |
depiction of realistic objects in a natural setting |
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megalith |
massive rough cut stones. used to create structures |
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megalithic |
architecture or structures made of megalith's |
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trilithon |
a three stone structure |
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cromlech |
a man made circle of standing stones |
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post and lintel |
upright stones (posts) support a horizontal beam (lintel) |
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dolmen |
megalithic tomb with upright stones holding a large flat one |
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passage grave |
tomb with a long stone corridor leading to a dome-covered burial chamber. |
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menhir |
the standing stones that make up a cromlech |
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talisman |
object a human makes that gives protection or power. |
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Mesopotamian art timeline |
sumerian akkadian neo-sumerian babylonian Hittite assyrian Neo-babylonian achaemenid persian |
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Ziggurat |
Structured temples in ancient mesopotamia |
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Shakhuru |
top temple building in sumerian temples |
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stratified society |
civilization or society with different classes |
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votive |
object offered in fulfillment of a vow votive statues offer constant prayer |
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Sir Leonard Wooley |
archaeologist who excavated Ur in mesopotamia |
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narrative |
art that tells a story |
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closed form |
no gaps in the structure |
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open form |
a sculpture that has gaps in the structure |
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positive space |
main focus of a picture |
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negative space |
background of a picture |
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cuneiform |
"wedge shape" writing system of mesopotamia by pressing a stylus into a clay tablet and baked to harden |
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guardian figure |
figures guarding entrances believed to be able to come alive and guard. |
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llamassu |
assyrian guardian in the form of a man headed winged bull |
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stele |
carved stone slab used to commemorate historical events or mark graves |
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twisted anatomical perspective |
when the body is shown thoroughly through twisting in an unnatural pose. |
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repetition of form |
when aspects of a piece are repeated exactly the same to show vast numbers |
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hierarchic scaling |
the use of size to show importance of individuals in a work of art |
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Sumerian |
-first city states and writing invented -construction of oldest temples on ziggurats -artists present narrative |
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narrative registers |
bands or friezes in pictoral narrative |
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akkadian |
first rulers to call themselves kings |
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Canon of Proportions |
a set of rules on the proportion of kings in depictions |
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Re |
egyptian god of the sun |
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Osiris |
egyptian god of the afterlife |
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Ka |
The lifeforce or spirit of egyptians |
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papyrus |
native Egyptian plant used to make paperlike material |
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fresco |
painting on lime plaster |
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sarcophagus |
an egyptian coffin |
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Valley of the Kings |
Name of an area with several Pharoahs buried in it. |
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Ptolemaic Period |
When the greeks came and ruled egypt |
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mastaba |
early egyptian tomb, flat roof with trapazoidal walls |
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reserve statue |
Statue's in place to receive the kings Ka. |
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serdab |
a small concealed chamber for the statue of the deceased. |
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necropolis |
"city of the dead" a large burial area |
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Mortuary Temple |
temple for the worship of deceased pharaoh |
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pylon |
Wide entrance gateway of an egyptian temple |
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Hypostyle |
roof supported by columns |
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column |
vertical weight carrying pillar |
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shaft |
cylindrical part of column |
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capital |
top of a column |
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colonnade |
a series or row of columns |
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faience |
low fired opaque glasslike object |
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repousse |
beating a metal plate from the back leaving the impression on the face |
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Schliemann |
Architect and adventure chaser that tried to form cultures into his own interest |
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corbel |
wall member used as a support for some element in a structure |
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niello |
black metallic alloy used to outline lines in thin metals |
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megaron |
large reception hall and throne room in a mycenaean palace |
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Cycladic |
prehistoric art of the Aegean Islands except for crete |
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Minoan |
prehistoric art of Crete |
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Knossos |
archeological site on Crete where the legend of the minotaur is believed to have happened |
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mosaic |
pattern of pictures made by embedding small pieces to create a form |
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17 |
Palette of King Narmer, Egyptian, Pre-dynastic, slate relief |
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18 |
Seated figure of Khafra, Egyptian, Old Kingdom Dynasties, diorite. |
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19 |
Menkaura and Queen, Egyptian, Old Kingdom Dynasties, slate. |
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20 |
Ti watching a hippopotamus hunt, old kingdom dynasties, egyptian, painted limestone relief sculpture. |
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21 |
Mortuary Temple of Queen Hatshepsut, Egyptian, New Kingdom dynasties |
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22 |
Temple of Rameses II at Abu Simbel, Egyptian, New Kingdom dynasties |
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23 |
Queen Nefertiti, egyptian, new kingdom dynasties, painted limestone |
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24 |
Last Judgement of Hu-Nefer, Tomb at thebes, Egyptian, New Kingdom Dynasties, Painted papyrus scroll |
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25 |
innermost sarcophagus of tutankhamun, Egyptian, New Kingdom Dynasties, |
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26 |
Female Figurine, Aegean Cultures, Cycladic, marble |
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27 |
Male Lyre Player, Aegean Cultures, Cycladic, marble |
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28 |
Bull-Leaping, palace at knossos, Aegean Cultures, Minoan. |
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29 |
Marine style octopus jar, Aegean Cultures, Minoan |
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30 |
Harvester Vase, Aegean Cultures, Minoan, steatite |
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31 |
So called snake goddess, Knossos, Aegean |
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32 |
corbeled gallery in walls, tiryns, aegean cultures, mycenaean |
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33 |
Funerary Mask, Mycenae, Aegean Cultures, Mycenaean, beaten gold. |
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What is the assumed functions of Paleolithic cave paintings and what evidence exists to support this assumption |
-Painted in the far end of caves -overlapping drawings -Hall of Bulls -non narrative -talismanic -mostly herd animals -teaching tools -target practice |
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The appearance of the female figure from willendorf; how the physical features may provide some clue as to the function or purpose of this |
-talismanic -they are large and represent pregnant females -no facial likeness -several found just like it -all of women |
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the nature and assumed purpose of stonehenge and other neolithic megalithic structures |
-began as a burial site -solar calander -summer solstice -important to farmers -testament to neolithic intelligence |
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overall timeframe |
paleolithic neolithic sumerian akkadian neo-sumerian babylonian hittite assyrian neo-babylonian achaeminid predynastic old kingdom middle kingdom new kingdom cycladic minoan mycenaean |
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compare makapansgat pebble to the female figure from willendorf |
-pebble was found in a river not created. |
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The use of art and architecture to reflect or project royal or dynastic power in mesopotamian culture |
-Temples were only open to priests and royalty -Assyrians -protective lamassu in entrences -palaces embodied by extensive murals -hierarchic scaling |
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How does the form of the ziggurat reflect the social organization of the culture that built it. |
-god lived above the people |
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Stylistic convention of mesopotamian art compared with ancient egypt |
Similarities: hybrid creatures, twisted anatomical perspective, repetition of form, hierarchic scaling,narrative differences: Egyptian canon of properties, papyrus. |
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What is meant by the term eclectic and how does persian art and culture reflect this concept |
eclectic: taking ideas, style, and taste. -Greeks, babylonians, and egyptians decorated Darius' palace. |
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Order of Egyptian Pylon temple |
Front to back 1. Pylon 2. Colonnaded Courtyard 3. Hypostyle Hall 4. sanctuary |
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Fully discuss the Armana heresy |
Akhenaton abandond egyptian gods for Aton -moved the capital down river -upset the priests -artists temporarily removed themselves from the restrictions of canon proportions |
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discuss the evolution of egyptian funerary architecture as it changed from the old to new kingdoms |
-pyramids -rock-cut tombs -thieves -valley of the kings |
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explain the egyptians pursuit of permanence and conservatism in their art |
-closed form -so art was less likely to be destroyed -believed Ka would envelop the dead -because things worked out they didn't want change |
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evaluate the use of realism in egyptian relief carving and painting. |
non royal subjects were more realistic -royalty must follow canon perspective |
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discuss the discovery of both minoan and mycenaean cultures and the vastly differing backgrounds of their discoverers with regard to archaeological training. |
-Minoan -Arthur Evens - took context and iconography seriously -mycenaean -Schliemann - was almost an adventure chaser and modified his discoveries to fit the mold he wanted |
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be able to discuss corbelling as an architectural process |
-using gravity to create what can closely be realated to an arch -used to construct tunnels and temples |
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differences between citadel of tiryns and palace at knossos |
-tiryns was well fortified -knossos was on an island -no war |
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significance of minoan ceramic shape, design, and decorative elements |
-love of nature -evoked life through curved lines and patterns -abstract and naturalistic forms -landscape with swallows (spring Fresco) -foreground and background |
