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45 Cards in this Set
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Who: This belongs to the eighteenth dynasty Egyptians, they made it.
What: It is a engraved drawing for Ramose's unfinished tomb of Egyptian figuring art showing his brother May, his brother's wife Werner. Made with stone. When: Eighteenth Dynasty. c. 1375-1365 BCE Where: The unfinished tomb is located near Thebes. Why: This item is particular important for our course not only because it depicts a beautiful artistic visualization of what royalty looked like but also because it tells us a story and a poem. Literally there is a poem, a New Kingdom love poem, the art and carvings here are showing such warmth and refinement that they become almost believable. |
Ramose's Brother May and wife Werner
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Who: The Egyptian civilization built this What: It is a sandstone statue of Pharaoh Akhenaten, they carved out the features of the Pharaoh. "Colossal figure of Akhenaten" When: This was made in in the eighteenth dynasty c. either 1353 to 1336 BCE or 1351 to 1334 BCE. Where: It is currently located Cairo Museum in Egypt. Was discovered in Karnak, Thebes. Why: This item is really important because in a way it is one of a kind in Egyptian art. The pharoah's in other sculptures and drawings would always have a rigid, masculine look, not life like at all. While this statue shows the pharaoh with a belly, long nose, and thin arms. Possibly exactly what Akhentan looked like in his days. |
Colossal Figure Of Akhenaten Not |
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Who: The Egyptian Civilization What: It is a funerary temple for the only female pharaoh Hatshepsut. Made from sandstone. When: This was made in the eighteenth dynasty c. 1473-1458 BCE Where: located at Deir el-Bahri Why: Hatshepsut funerary temple is one of the most extravagant buildings. It was designed for funeral rites and commemorative ceremonies. |
Funerary Temple of Hatshepsut/ Hatshepsut Kneeling - red granite Not |
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Who: Egyptians What: Stele of painted limestone, painted relief. When : Late Eleventh Dynasty, c. 2000BCE Where: Currently located at the Egyptian Museum, Cairo From Assasif Why: A painting of food offerings for the deceased Amenemhat from his family. Amenemhat sits on lion legged bench between his wife Iyri and their son Antef, embraced by both. Next to them is an offering table filled with different food. The painter of this relief follows an established Egyptian convention of differentiating gender by skin tonality: dark red-brown for men and lighter yellow-ocher for women. |
Stele of Amenemhat Not |
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who: Egyptian civilization what: engraved carving of sandstone with red and black ink When: Twelfth Dynasty c. 1850 BCE Where: currently located at the British Museum London Why: The unfinished stele presents three levels of decoration: one large upper block with five bands of hieroglyphs, beneath which are two registers with figures, each identified by inscription. |
Stele of the Sculpture Userwer Not |
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who: Egyptian civilization What: Wall painting from tomb of Khnumhotep When: Twelfth Dynasty, c. 1890 BCE Where: Tomb of Khnumhotep, Beni Hasan Why: The upper torso of these farm workers take a more life like profile posture, developing from the strict formality of the royal composite pose. |
Picking Figs Not |
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who: Egyptian civilization What:Painted limestone relief When:Fifth Dynasty, c. 2450- 2325 BCE Where: Tomb of TI, Saquarra Necropolis Why: It is believed that Seth, the god of chaos, disguised himself as a hippo. Hippos were also destructive since they wandered into feild, damaging crops. Tomb depictions of such hunts therefore proclaimed the valor of the deceased and the triumph of good over evil, or at least order over destruction. |
Ti watching a Hippopotamus hunt |
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who: 19th dynasty Egyptians what: Columns with papyriform and bud capitals when: 19th dynasty c. 1292-1190 where: great temple of Amun at Karnak why: May have been used for royal coronation ceremonies. |
Columns at the Great Temple of Amun At Karnak |
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who: Egyptian civilization What: Graywacke with traces of red and black paint When: Dourth Dynasty, c. 2490-2472 BCE Where: Menkaure's Valley temple discovered Why: The couple's seperate figures, close in size, are joined by the stone from which they emerge, forming a single unit. They are further united by the queen's symbolic gesture of embrace. Her right hand comes from behind clasp his torso, and her left hand rests gently, if stiffly, over his upper arm. The king- depicted in accordance with Egyptian ideals as an athletic, youthful figure, nude to the waist and wearing royal kilt and head cloth- stand in conventional, balanced pose, striding with the left foot forward, his arms straight aat his sides, and his fists clenched over cylindrical objects. |
Menkaure and Queen |
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who: Egyptian civilization What: diorite gabbro gneiss When: Fifth Dynasty Where: Giza, valley temple of Khafre Why: Khafre shown as an enthroned king. The falcon god Horus perches on the bacl of the throne, protectively enfolding the king's head with his wings. lions- symbols of regal authority- form the throne's legs, and the intertwined lotus and ppyrus plants beneath the seat symbolize the king's power over upper and lover Egypt. |
Great Sphinx also |
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What: Green Schist When:early dynasty period c.2950 Where:Hierakonpolis Why: |
Palette of Narmer |
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king tut Gold and Glass c. 1332 - 1322 BCE Valley of the kings |
Funerary Mask of King Tutinkhaim Maybe |
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Babylonian Basalt c. 1792-1750 probably from Sippar, found at Susa Hammurabi's systematic cadification of his people's rights, duties, and punishments for wrongsoing was engraved on a black basalt slab. Depicts a legendary event and precious historical document that records a conversation about justice between god and man. At the top Hamurrabi standing in an attitude of prayer before Shamash, the sun god and god of justice. Rays rise from Shamasa's shoulders as he sits, crowned by a conical horned cap, on a backless throne, holding additianl symbols of power- the measuring rod and the rope circle. Shamash gives the law to the king, and the coeds of justice flow forth underneath them. |
Stele of Hamorabi |
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Sumerians Diorite c.2090BCE From Girsu Images of Gudea present him as strong, peaceful, pious ruler worthy of divine favor. Whether he is shown sitting or standing, he wears a long garment, which provides ample, smooth space for long cuniform inscription. In this imposing statue, only 2.5 feet tall, his right shoulder is bare, and he wears a cap with a wide brim carved with a pattern to represent fleece. He holds a vessel in front of him, from which life-giving water flows in two streams, eached filled with leapng fish. The text state the he dedicated himself, and its temple to the goddess Geshtianna, the divine poet and interpreter of dreams. It is emphasized on sculpture the eyes, head, and smoothly muscled arms. Gudea's face is youthful and serens, and his eyes- oversized and wide open- perpetually confront the gace of the deity with intense concentration. |
Votive Statue of Gudea |
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who: Sumerian and Akkadian what: made from lost wax technique/ casting maybe a portrayal of Sargon c.2300-2200BCE From Nineveh It is the earliest known work of hollow-cast sculpture using lost-wax casting process. The facial features and hairstyle may reflect a generalized ideal more than the unique likeness of a specific individual, although the sculpture was once identified as Sargon. The enormous curling beard and elaborately braided hair indicate both royalty and ideal male appearance. The deliberate damage to the left side of the face and eye suggest that the head was symbolically mutilated at a later date to destroy its power. Specifically, the ears and the inlaid eyes appear to have been removed to deprive the head of its ability to hear and see. |
Head of Sargon |
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who: Akkadians What: alabaster When: 2300-2275 BCE Where: Ur (Muquiyi, Iraq) Why:cercular relief structure. Enheduanna slightly larger then the others and wearing a flounced, fleeced wool garment and the headgear of a high priestess. She was the daughter of Sargon 1 and high priestess of the moon god Nanna at his temple in Ur. The procession portrayed on the front of the disk commemorates the dedication of Enheduanna's donation of a dias (raised platform) to the temple of Inanna in Ur. The naked man in front of her pours a ritual libation in front of a ziggurat, while she and her two followers, raise their right hands befre their faces in a common gesture of pious greeting. |
Disk of Enhenduanna |
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Summerians Lapis Lazuil c.2600-2500BCE Ur it is one of 400 that were found in excavations of the royal burials at Ur. It comes from the tomb of a powerful women known as Puabi, and was found leaning against the right arm of her body. It shows two registers of convivial banquet at which all the guests may be women, with fringed skirts and long hair gatheres up in buns behind their necks. Two seated figures in the upper register raise their glasses, accompanied by standing servants, one of whom, at far left, holds a fan. The single seated figure in the lower register sits in front of a table piled with food, while a figure behind her offers a cup of drink, |
Cylinder Seal |
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Summarians wood with gold, lapis lazuli, bitumen, and shell c.2600-2500BCE Royal tomb, Ur depicting a man at the top a heroic image of a man interlocked with a ns in control of two bulls, and bellow them three scenes of animals mimicking the activites of humans. One one register, a seated donkey plucks the strings of a bull lyre stablilized by a standing bear, while a fox accomponies him with a rattle. |
The Sound Box Of the Great Lyre The Great Lyre with Bull head |
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Summarians Limestone, alabaster, and gypsum c.2900-2600BCE Square Temple, Eshunna Images dedicated to the gods, are directly related to an ancient Near Eastern devotional practice in which individuals worshipers could set up images of themselves in a shrine before a larger, more elaborate image of a god."On who offers prayer". Figures have stylized faces and bodies, dressed in clothing that emphasize pure cylindrical shapes. They stand solemnly, hands clasped in respect. The bold, staring eyes may be related to statements in contemporary Sumerian texts that advice worshipers to approach gods with an attentive gaze. |
Twelve Votive Figures |
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when: c. 2600-2500BCE Why: sounding box decoration, images show what sumerian life was like one side shows regular life the other war. |
The Royal Standard |
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Summerians Alabaster c.3300-3000BCE Uruk Shows how early mesopotamian sculptors told stories in stone with great clarity and verve. It is organized in three registers. The lower register showes the source of line in the natural world, beginning in water and plants and continuing in a superimposed upper strip, where altering rams and ewes march single file. The middle shows naked men offering food, the top show s the goddess Inanna accepting offerings |
Carved Vessel |
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Mesopotamia Marble c.3300-3000BCE Uruk May represent a temple goddess. |
Head of a Women |
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Who: Uruk civilization What: stone with carving when:3300-3000BCE Where: Uruk Why: writing is developed because people need to keep track of things |
The Blau Monuments |
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Who: Artist of Mesopotamia What: A stele, stone slab, made from limestone Where: From Sippar, found at Susa present day Shush Iran When: Naram-Sin ruled from 2254-2218 BCE Why: In the picture Naram-Sin is depicted as the largest figure, a emphasis of his hierarchy and him being above others. He holds a weapon and his helmet has horns on it, usually an attribute reserved for gods. He is claiming divinity. He has a well formed male body, which speak to representation of his sacred and political authority as leader of the state. It also tells a story of his important military victory. Bellow him marching towards his side is his military. Victory over Lullubi |
Stele of Naram-Sin |
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Neo-Sumerians stone c. 2100-2050 BCE Ur three registers: top register only thing able to see is feet, middle register seated god, justice, holding attributes to his office has a crowned horn helmet 4 horns divine attribute , bottom register same god leading our ruler, portrayed with close fitting cap, return to the old ways, portaryed as a hard working ruler with a pic axe. |
Stele of Uranamu The broken one |
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Human-Fish Sculpture |
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Men Taunting A Deer |
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Figures of a woman and a man |
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prehistoric fired lime plaster with cowrie shell 6500BCE 'Ain Ghazal |
Human Figure |
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Prehistoric paint on limestone when: 25,000-24,000BCE Perch-Merle caves France spotted horses, proving there were spotted horses in 2011 |
Perch-Merle |
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who: what: mammoth ivory when: 30,000-26,000BCE where: Hohlenstein-Stadel Germany why: |
Lion Human |
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who: what: limestone, red ochre when: c. 24,000BCE where: Austria why: |
"Venus" of Willendorf |
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who: what: when: 32,000-30,000BCE where: South East France why: A series of animals, elation of of volume earliest performance of performing arts, going into a dark cave to paint. Europe undergoing ice age. |
Chauvet Caves |
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who: what: when: c. 15,000BCE where: South East France why: earliest aspect of art is centered around figures, hunting scene showing humans and bicense , maybe a story being portrayed |
Lascaux Caves |
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Tomb 100 |
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Narmer Macehead |
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who: 3rd king of the 1st dynasty |
Stele of King Wadj |
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Meant not for us to look at but for it to look at us. "ka", is in the statue and receives substantiates for existence in the other world, would need offerings. - Body of Djoser |
Serdab Statue |
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Who: Egyptian Civilization What: Yellow Quartzite When:Twelfth Dynasty, c. 1836-1818BCE Where: in nelson-atkins museum of art Kansas city Why: Reflects the new sensibility of a king. old kingdom kings gaze into eternity confident and serene, toned and unflinching, whereas Sensuret seems to capture a monarch preocupited and drained. Creases line his saging cheeks, his eyes are sunken, his eyelids droop, his forehead is flexed, and his jaw is sternly set- a bold image of a resolute ruler, tested but unbowed. |
Head of Sensuret 3rd |
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who: egypt what: painted limestone (knife restored) when: 5th Dynasty c. 2450-2325BCE Where: maybe from the tomb of the of the official Ni-kau-inpu and his wife Hemer-re, Giza? Why: Emphasis on life like poses and engagment with the viewer may have been an attempt to underscore the ability of such figures to perform their assigned task, or perhaps it was meant to indicate their lower social status by showing them involved with physical labor. The contrast between the detached stylization of upper class figures and the engaging lifelikeness of laborers can be seen in old kingdom pictorial relief works as well. |
Butcher |
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who: Egyptians What: painted limstone with inlaid eyes of rock crystal When: Fifth dynasty, c. 2450-2325 BCE Where: near the tomb of Kai, Saqqara Why: With round head, alert expression, and cap of closecropped hair-that was discovered near the tomb of the government officail kai. It could be a portrait of Kai himself. The irregular contours of his engaiging face project a sence of individual likeness and human presence. Sagging body, flabby, his condition advertising a life free from hard physicail labor. The eyes give the allusion of being in motion, seeking content. |
Seated Scribe |
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Sumarrians Ziggurat - mud-brickc.2100-2050BCE Ur Dedicated to the moon god Nana, also called sin. |
Nanna Zigurat |
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Sumarrians whitewashed mud-brick c.3400-3200BCE Uruk This marked the first independent summerain city state. Dedicated to the sky god Anu |
White Temple |
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Egyptians Limestone 2650-2631bce Saqqara first stacking of mastabas, substitution from mud-brick to stone. Djoser wanted more than a mastaba, Imhotep first just made three stacks then added two more |
Step pyramid saqqara |
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Egyptians Limestone and granite c.2575-2450 Giza farrest is the tallest, side entrance. Kuthros pyramid is diferent passage goes up into the pyramid itself to a smaller chamber called the "queen's chamber" then goes even higher through the grande gallery with corbel vaulting at both sides.and then the chambers with 5 reflexive structures, don't do anything structural one of the ideas the why people think about hidden chambers-there are no hidden chambers. Two air shafts point out into the stars. |
Great Pyramids of Giza |
