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65 Cards in this Set
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Subtractive Method |
in sculpture, a technique in which materials are taken away from the orgianl mass; cutting into/carving a material, such as stone or wood, to create a sculpture |
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Additive Method |
in sculpture, a technique in which materials are built up to create a form; casting (e.g. in bronze) or using plastics, clay, or other flexible materials |
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Ziggurat |
a temple tower in the form of a truncated pyramid built in diminishing stages, each stage being reached by ramps; in the Ancient Near East, a monumental platform for a temple |
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Battered |
having inclined or slope sides/walls |
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Polytheism |
belief in many (not all) gods |
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Hierarchy |
a group of persons organized according to rank, capacity, or authority, or a body of ntities arranged in a graded series |
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Relief |
in scuplture, figures or designs projecting froma background of which they are a part; the degree of carving or modeling may vary from low to high; there are three types |
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Bas-Relief |
shallow (low) carving where the design barely projects from its background |
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Sunken Relief |
(also known as intaglio or hollow-relief) when the artist cuts the design into the surface so that the image's highest projecting parts are no higher than the surface itself; often the elements of the compostion sink beneath the plane; notably associated with inscriptions in ancient cultures |
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High Relief |
deep carving in which the dsign projects quite far from its background |
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Scale |
system for determining the sizes of figures and/or ojects in a work of art, relative to the sizes of figures and objects in the real world |
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Single Scale |
one system for determining the sizes of figures and/or objects in a work of art used consistently throughout; if a one-foot figure in the work of art stanks for a six-foot man in the real world, this size relationship is consistently applied throughout the work (thus, all objects and/or figures "make sense" in comparison to one another) |
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Double Scale |
more than one system for determining the sizes of figures/objects in an artwork, often based on the importance of certain figures; some will appear unnaturally smaller or larger than others |
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Proportion |
a part considered in relation to the whole |
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Canon of Proportions |
a set of rules that governs the relationship of all boyd parts |
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Hieroglyphs (Hieroglyphics) |
a system of writing/communicating using pictures and/or sound; could be used horizontally or vertically; meant to communicate with the gods |
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Ka |
the immortal human "substance" or life force; the "other self" that was present since birth; this concept is similar to the Westeran idea of the spirit |
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Rea/Re |
name of the Eyptian sun god |
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Negative Space |
the open or empty space enclosed by positive mass; most associated with sculpture |
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Naturalism |
rendering something in a believable or life-like way; representation based on close observation of the natural/visible world |
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Idealism |
representation of things as they "should be"; perfection according tot he standards of a givent ime period |
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Realism |
representation of things as they really are; when an artist tries to capture, to the best of his ability, what something actually looks like, including its flaws and imperfections |
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Fresco Secco |
a mural patining technique involving permanent (limeproof) pigments on a freshly dried lime plaster wall |
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Amphora |
a two-handled jar used for general storage purposes, usually for wine or oil |
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Black-Figure Ware |
involves the technique/style of ecorating Greek ceramic vases where the design was [ainted in black glaze directly on the glay, which was usally reddish-brown in color; inner details were drawn by scratching (incising) through the black glaze |
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Red-Figure Ware |
refers to the technique/style of Greek vase painting (developed after black-figures painting) where black glaze was painted around the forms and figures of the reddish-brown clay, with inner details painted in; characteristic of the finest Greek vases |
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Bilingual Pottery |
describes a type of terracotta pottery that uses a dual "language" or technique where one side features the old black-figure painting style and the other side features the new red-figure style, sometimes showing the same scene |
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Kouros |
Greek for young man; refers to a sculpted representtion of a young men |
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Freestanding |
"sculpture in the round," carved or modeled in three dimensions so that, if desired, it can be viewed from all sides |
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Encaustics |
mixing pigments with wax, applied hot for binding strength |
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Contrapposto |
often called weight shift because the weight of the body tends to be thrown to one foot, creating tension on one side of the body and relaxation on the other; disposition of the human figure in which one part is turned in opposition to another part |
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Canon of Proportions |
the acient Greeks considered beauty to be a matter of correct proportions (or parts of the body related to the whole) |
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Peripteral |
refers to a building with a single row o columns (a perityle) surrounding it |
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Octstyle |
refers to a portico with eight columns across the front |
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Perfect Temple Ratio |
a relationship of building parts thought to be the most beautiful: 2x+1 to x |
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Portico |
the voered entreance to a buidling, containing columns and a pediment (as in a temple front) |
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Cella |
the main body of a clasical temple (containing the cult image), as distinct from the portico, etc. |
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Column |
an upright member, circular in plan and usually tapering slightly; in classical architecture it consists of base, shaft, and capital; it is usually designed to carry an entablature |
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Shaft |
the trunk of a column, between the base and the capital |
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Fluting |
shallow concave groozes, runing vertically, usually on the shaft of a column or pilaster |
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Captial |
the head or crowning feature of a column |
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Doric (order) |
characterized by unadorned capitals, columns without bases, and a frieze of triglyphs and metopes |
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Ionic (Order) |
features crowing volutes (scroll-like shapes), columns with bases, and an uninterrupted frieze |
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Corinthian |
capital consists of a double row of acanthus leaves from which tendrils and flowers grow around a bell-shapped crown (strictly speaking there is no Corinthian order; rather, this style of capital can be used on the Ionic order) |
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Entablature |
the part of a building above the columns and below the rood; it contains three parts: architrave, frieze, and cornice |
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Architrave |
the lintel or lowest of the three main parts of the entablature |
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Frieze |
the part of the entablature between the architrave and the cornice, may also refer to any sculpted or ornamented band in a building or on funiture |
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Doric Frieze |
contains alternating triglyphs (vertical grooves) & metopes (blocks, plain or sculpted) |
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Ionic Frieze |
contains a contunuous (uninterrupted) block of stonework that may be plain or sculpted |
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Cornice |
the projecting, cornwing memeber framing the pediment; also any crowning projection |
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Pediment |
in classical architecture, the triangular space (gable) at the end of a building, formed by the ends of hte sloping roof above the colonnade; also an ornamental feature having this shape |
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Optical Corrections |
very substle curves and spacing differences used to make the Parthenon (and some subsequent structures) look perfect: the stylobate and entablature are convex; and the columns tilt inward, are not uniformly spaced (closer at the corner), are not the same diameter (slightly larger at the corners), and have entasis |
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Entasis |
a slgiht convex tapering (an apparent swelling) in the shaft of a column; used on Greek and later columns to correct he optical illusion of concavity whihc would result if the sides were straight |
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Panathenaic Procession |
a real even with took play every four years, where Athenians gathered in the agora (market place) and, among other things, carried a robe to the stature of Athena |
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Wet Drapery Technique |
a technique of sculpting whre the drapery almost appears to be wet and clings to reveal the various shapes of the body underneath |
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Pantheism |
belief in and worship of all gods |
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Pseudoperipteral |
refers to a temple with a front portico of freestanding columns and a series of engaged columns or pilasters surrounding the sides and back to give hte appearance of a peripteral colonnade |
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Pilaster/Engaged Column |
a flat, rectangular, or semi-circular vertical membered projecting form a wall of which it forms a part (it usually has a base of capital, and is often fluted); a half-round column attached to a wall; it is decorative rather than structural |
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Central Plan |
when the horizontal arrangement of the parts of a building (as in the floor plan) raiate from a central point, often the building is round or polygonal, and domed |
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Rotunda |
a circular building or hall, often surrounded by a colonnade, and usually domed |
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Dome |
a hemispheric vault; theoretically, an arch rotated on its axis 360 degrees |
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Drum |
a vertical wall supporting a dome or cupola; it may be circular, square, or polygonal in plan |
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Oculus |
a round window or opening |
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Coffers (Coffered) |
sunk panels, often ornamental, in a vault, dome, or ceiling |
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Niche |
a recess in a wall usually used for holding a stature or ornament |