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67 Cards in this Set
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Title: Stele of Naram-Sin Culture: ANE Interpretation: Akkadian ruler Naram-Sin is depicted in hierarchic scale in a scene of military triumph. Low relief. His army walks on top of defeated people. He is holding many weapons, everyone looks up to him. He looks up mountain, where the gods (sun) are, he goes to join them. Horned helmet = he was given divine power. |
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Title: Nanna Ziggurat Culture: ANE Location: Ur Interpretation: Rectangular base, 3 sets of stairs converge at first platform. Temple dedicated to moon goddess,(nature=important) would have been highest point around for miles, everyone would look up at it. God depends to the top of it. Cone mosaic, would have been impressive. Votive figures in top (waiting rooms). People would go there to receive food allotment, so it was a place of physical and spiritual nourishment. |
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Title: Stele of Hammurabi Culture: ANE Interpretation: Hammurabi standing before the sun god/god of justice. The text below lists laws and punishments that the god gave to Hammurabi to enforce (in cuneiform). Hammurabi is erect, but if the god were to stand he would be slightly taller. Thus Hammurabi is almost godlike. As Hammurabi is being trusted with this info, he is therefore a worthy ruler and worthy of the company of gods. Also has facts about Hammurabi, some history. |
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Title: Ishtar Gate Culture: ANE Location:Babylon Interpretation: Ceremonial entrance to the city. Huge and bright blue to catch attention and show importance. Animals depicted are to honor various deities. Supposed to be dedicated to gods, but more a representation of the power and wealth of the city. |
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Title: Palette of King Narmer Culture: Egypt Interpretation: Raised relief. Hierarchal scale Narmer striking down naked enemy, position of power. Wears crown of Upper Nile. Two other defeated enemies lie at his feet. A servant is behind him carrying his sandals and a basket- maybe ritual? On back, Narmer wears crown of Lower Egypt. Conquered, decapitated enemies lie before him. The tying together of the necks of the two lions is a symbol for the tying together of Upper and Lower Egypt. Hole would have had makeup in it, but too important for that. At bottom, bull victorious. Over and over, this palette shows victory over enemies. Narmer is depicted in canon (chest forward). At top, stamps of King Narmer. |
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Title: Statue of Khafre Culture: Egypt Location: Giza Interpretation: Over life-sized, intimidating. Falcon (Horus) by head shows godly protection. Lions - symbol of regal authority - form the throne's legs, and the intertwined lotus and papyrus plants beneath the seat symbolize the king's power over Upper and Lower Egypt. Royal false beard, idealized body, stiff pose, calm dignity of expression = declares kingship. |
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Title: Great Pyramids at Giza Culture: Egypt Location: Giza Interpretation: Tombs for 3 successive Kings- largest is Khufu. Angled sides= slanting rays of the sun (deceased kings climb up the rays to join sun god Ra). Funerary site was planned to follow the sun's east to west rays. In order to build a pyramid, a king would have to have incredible power and resources to command that many people and resources. Testament to the prowess of the king, left a legacy. Covered in shimmering limestone. Each have a causeway that goes to Nile to transport body. |
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Great Sphinx Culture: Egypt Location: Giza
Interpretation: Funerary complex of Khafra. This portrait of the king combines his head with body of a lion, merging human intelligence with animal strength. Halfway between god and human. Positioned in the same position kings are seated in. "Guards" pyramids.
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Title: Nebamun's Garden Culture: Egypt Interpretation: Nebamun's garden in the afterlife- full of fish, birds, trees (animals in profile, showing in best form)- a paradise symbolizing rebirth and new life. Often what is painted is what the person would have enjoyed in life, so perhaps Nebamun had a garden he loved in life. A goddess offers him food and drink, nourishing and caring for him in death. |
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Title: Athena Nike (Victory) Adjusting her Sandal Culture: Greece Location: Akropolis, Athens Interpretation: Light, flowing fabric lets us see her figure beneath- erotic. Victory in war- victorious over enemies, has time to leisurely adjust her sandals. High Classical Period. Contraposto. |
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Title: Parthenon and Huge Gold and Ivory Figure of Athena Architect: Pheidias Culture: Greece Location: Akropolis, Athens Interpretation: Classical Period. Peripteral octastyle temple. Columns = Doric order (but thinner and simpler). Post and lintel structure. White marble was used = shined in the sun for all to see. Ratio of 4:9 width:length and column diameter:column space would have required large amount of architects and mathematicians, tribute to wealth and resources of society. Also reflected the obsession at that time with order and attention to detail that set them apart from barbarians. Would have had colorful, high relief statues celebrating life of Athena. Statue: Holds Nike, she has command over victory. Dressed in armor- has Medusa's head on her breastplate. Apart from weapons, she also has wisdom, as seen by the sphinx on her head. She shelters a snake with her shield, which is a representation of her son (Athena was closely related to snakes for some time). In cella of parthenon. |
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Title: “Metropolitan” Kouros Culture: Greece Interpretation: Archaic Period. Stylized hair, but idealized features: with large eyes (see gods better) and his face displays the Archaic Smile. Naked, which was valued for young men=athleticism, fertility. Similar to Egyptian sculpture, but free standing. Rigid upper body, lower half in motion. Vertical symmetry. |
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Title: “Peplos" Kore Culture: Greece Interpretation: Archaic Period. Votive statue. Still and erect, but flesh gives appearance of softness. Smile is more natural. Holding hand out in offering to a god. Would have been brightly painted. Clothes- still kind of rigid, but can see some female figure. |
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Title: A Youth Pouring Wine into the Kylix of a Companion Artist: Douris (start of signing works of art) Culture: Greece Interpretation: Early Classical Period. Red figure. Only visible when drinker lifts kylix to drink. Mirrors actual scene in real life. Elegant, beautiful youth (more exposed, athletic), dignified older man= shows cultural value. Maybe homosexual undertones? |
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Title: Ashokan Pillar Culture: India Interpretation: Ashoka = first Buddhist king. Most of the pillars were topped by sculptures of animals (here, a lion) as well as an inverted lotus flower, symbols of Buddhism. The Buddha was born into the lion clan. The lion, in many cultures, also indicates royalty or leadership. The pillar symbolized the axis mundi. First physical evidence of Buddhism- proclaimed the king's beliefs throughout the kingdom. Also served to mark his kingdom. |
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Title: Great Stupa at Sanchi Culture: India Location: Madhya Pradesh, India Interpretation: Buddhist stupa serves as a marker for a sacred space, a symbolic representation of the Buddha’s burial mound. Also a cosmic symbol- its hemispherical shape represents the world egg. Four gateways were carved and decorated with images of fertility spirits (caused suffering=vain) and narratives depicting moments from the life of Buddha (reliquary). Motifs such as wheels, thrones, and footprints are used to symbolize the Buddha, who is not represented in human form. |
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Title: Great Stupa at Sanchi Culture: India Location: Madhya Pradesh, India Interpretation :Exterior reliefs of the Life of the Buddha These images told a story to worshipers, essentially reminding them of key moments in the life of the Buddha. They reinforced concepts in visual form for a largely illiterate population. 1) Queen Maya’s Conception in a Dream - elephant enters side (symbol of greatness) - son will be king or a teacher 2) “The Great Departure” - Buddha leaves princely life to seek enlightenment, carries horse with him in escape 3) “Enlightenment” Under a Bodhi tree in Bodh Gaya - he conquered worldly temptations 4)“The First Sermon” At the Deer Park in Sarnath- The Dharma Wheel is a Buddhist emblem, with eight spokes, each representing one of the eight tenets of Buddhist belief. The circle symbolizes the completeness of the Dharma, the spokes represent the eightfold path leading to enlightenment. 5)“Parinirvana” - the death of the body of someone who has attained nirvana during their lifetime |
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Title: Kandariya Mahadeva Temple Culture: India (Hindu) Location: Khajuraho, India Interpretation: Dedicated to Shiva, represented by the linga in the main shrine. The main spire (shikhara) represents the Himalayan mountain abode of Shiva (and reference to nature), and is surrounded by 84 miniature spires. The temple is designed along axis points that extend from the heart of the chamber upward through the line of the shikara, as it's the most important point. One views the entire range of existence from bottom to top, with plant and animal life near the bottom and the gods and semi-divine beings at the top. Stands on stone terrance- divides sacred space from mortal world. |
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Title: Mithunas in the Kandariya Mahadeva Temple Culture: India (Hindu) Location: Khajuraho, India Interpretation: These carvings were placed in a single vertical line at the juncture of walls enclosing the inner sanctuary. Their significance is uncertain; mithunas are found in entrances to many temples. Union of male and female; the couple become divine for a time |
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Title: Shiva Culture: India (Hindu) Interpretation: Three heads rest on the shoulders but five heads are implied. The head in front depicts Shiva deep in introspection; on the left is the protector nature depicted as female, and on the right the wrathful destroyer nature wearing a fierce expression and snakes encircling the neck. Skinny, lots of jewelry (wealthy). Many heads= many different versions of himself. Third eye = all seeing. Making a mudra with his hand = mudras of teaching. Seated on a lotus. |
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Title: Ara Pacis Augustae Culture: Rome Location: Rome Interpretation: Walled rectangular enclosure surrounding an open-air altar. Marble panels are carved with elaborate sculpture presenting powerful propaganda (political iconography). Inside= reliefs of garlands hanging from ox skulls (skulls=offering at alter, garlands=prosperity Augustus brought) Outside=reliefs of processions |
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Title: Ara Pacis Augustae Culture: Rome Location: Rome Interpretation: Imperial Procession relief. Represent members of Augustus' family. Augustus' desire to promote private family life as well as to emphasize potential heirs and the continuity of his dynasty. Lifelike- children pulling at robes, woman hushing them. |
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Title: Flavian Ampitheater (Colosseum) Culture: Rome Location: Rome Interpretation: Giant arena for watching sports- athletics very important to Roman society. Oval, perfect planning, allows everyone a good view and easy access. Barrel vaulted access corridors/entrances. Different architectural order on each level, bottom to top Tuscan, Ionic, Corinthian, Corinthian Pilasters (visually appealing). Deportation, not structure. Repeated round arches directs the eye around the building. Cornice crowns the structure. |
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Title: Column of Trajan Culture: Rome Interpretation: Commemorates Roman emperor Trajan's victory in the Dacian Wars. The freestanding column is most famous for its spiral bas relief, which artistically describes the epic wars. St.Peter is now depicted at top (was Trajan). So high up, not really meant to be read, but story would have been known. Climb spiral staircase within and see all of Rome. |
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Title: Column of Trajan Culture: Rome Location: Rome Interpretation: Romans Crossing the Danube and Building a Fort. Beginning of formal offensive. At the bottom, one of the few things people could see clearly- the beginning of the story. River god watches over them- their journey is blessed by the divine. |
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Title: Pantheon Culture: Rome Location: Rome Interpretation: The building is circular with a porch (portico), a domed rotunda, and an intermediate connecting section. The portico has 16 Corinthian columns which support a pediment. Built to honor all gods- exedrae around edges originally held statues of gods. Represents geometrical perfection and symmetry in the context of a perfect universe. The interior space could fit perfectly either in a cube or in a sphere. The massive interior room is designed to symbolize the heavens; the oculus is designed to symbolize the light- and life-giving sun. Also, prayers, could "rise" up to heavens through oculus. Political stuff happened here- connection of state with church. |
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Title: Cityscape, Detail from House of Publius Fannius Synistor Culture: Rome Location: Boscoreale, near Pompeii Interpretation: Second Style mural- using intuitive perspective, a general impression of real space is created beyond the wall. Architectural details painted to resemble real ones- complex and elaborate. Way we can see architecture of the time that wouldn't have lasted. |
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Title: Arch of Constantine Culture: Rome Location: Rome Interpretation: Commemorative victory arch with 3 barrel vaulted passageways. Situated in a highly visible and public location,thereby ensuring that its message would be readily accessible, prominently proclaiming Constantine’s rule at the heart of Rome. Re-uses several major reliefs from 2nd century imperial monuments, which give a stylistic contrast to the sculpture newly created for the arch. Transfers the glory of the old relief to Constantine, and shows him as a living continuation of that glory. Natural and abstract reliefs (frieze (statues across the top) are shown in basic forms, so they communicate stories, but roundrels are more realistic) |
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Title: Arch of Constantine Culture: Rome Location: Rome Roundels of Hadrian/Constantine Hunting Boar and Sacrificing to Apollo (represents courage and physical prowess, then his piety and gratitude to the gods for support) and Constantine Addressing the Roman People in the Roman Forum. Head of Hadrian was reworked to look like Constantine's father. In the strip below, figures are more blocky and grouped so the seated Constantine in hierarchal scale is more noticeable and on the same plane as his seated predecessors. |
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Title: Wall with Torah Niche in House-Synogogue of Dura Europos Culture: Late Antiquity Location: Dura Europos, Syria Interpretation: A wall from an assembly hall where the Torah scrolls were kept. Scenes from Jewish history and the story of Moses unfold in continuous visual narrative. Only surviving above ground structure from 3rd century. From West Wall. Important b/c it disproved that there was no figural images in late antique era. Theme- redemption. Left- menorah = celebration. Right- hand = god saying don't sacrifice Isaac. Covenant = redemption, God won't sacrifice man. |
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Title: The Crossing of the Red Sea from Wall with Torah Niche Culture: Late Antiquity Location: Dura Europos, Syria Interpretation: View of Moses appearing twice in a sequential narrative. On the left he is shown in front of the Pharaoh's army with the Red Sea parted. On the right he is shown with this staff stretched out over the waters, and the pharaoh's army drowning in the sea. This scene represents two of God's miracles - the parting and un-parting of the sea - which allowed the Israelites to escape Egypt. The each scene hovers a hand, representing God's presence. Moses is in hierarchal scale. Rescue from the water = baptism |
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Title: Hagia Sophia Architect: Anthemius of Tralles and Isidorus of Miletus Culture: Byzantium Location: Constantinople Interpretation: Mix of central and longitudinal planning. Inner and outer narthex. Central naos (dome) flanked by 2 half domes. Main dome rests on four pendentives. Exedrae. Dome originally built too shallow & fell. Dome appears to hover thanks to submerged pendentives, gold mosaic on interior of the dome and band of windows on the dome. |
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Title: Hagia Sophia Architect: Anthemius of Tralles and Isidorus of Miletus Culture: Byzantium Location: Constantinople Interpretation: Large open space to pray in. No figural decoration on the walls, so viewers instead focused on interior. Complicated space = meant to confound. Arabic writing for decoration. Converted into a mosque in 1450 until the fall of the Ottoman Empire. Figural images were put back up after the period of Iconoclasm. |
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Title: Church of San Vitale Culture: Byzantine Location: Ravenna, Italy Interpretation: Octagonal plan, central dome supported by squinches and surrounded by 8 exedrae. The building combines Roman elements: the dome, shape of doorways, and stepped towers; with Byzantine elements: polygonal apse, capitals, and narrow bricks. As in the Hagia Sofia, dome appears to be floating, but there are multiple mosaics glorifying Christ and the eucharist for people to focus on. Movement of space follows the curves. At top of dome = lamb of god. Chrio = sign of christ. Jesus with angels above apse. Building of power going upwards. |
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Title: Church of San Vitale Culture: Byzantine Location: Ravenna, Italy Interpretation: Octagonal plan, central dome supported by squinches and surrounded by 8 exedrae. The building combines Roman elements: the dome, shape of doorways, and stepped towers; with Byzantine elements: polygonal apse, capitals, and narrow bricks. As in the Hagia Sofia, dome appears to be floating, but there are multiple mosaics glorifying Christ and the eucharist for people to focus on. |
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Title: Church of San Vitale (Emperor Justinian and His Attendants) Culture: Byzantine Location: Ravenna, Italy (North Wall of the Apse) Interpretation: Justinian is clad in purple with a golden halo, standing next to court officials, the Bishop, guards and deacons. Approaching altar with sacrifices, he is delivering to God. The halo around his head gives him the same respect as Christ in the dome of the apse. Justinian himself stands in the middle, with soldiers on his right and clergy on his left, emphasizing that Justinian is the leader of both church and state of his empire. The gold background of the mosaic shows that Justinian and his entourage are inside the church. The figures are placed in a V shape; Justinian is placed in the front and in the middle to show his importance with the Bishop on his left and lesser individuals being placed behind them. This placement can be seen through the overlapping feet of the individuals present in the mosaic, also shows movement. The scene is both flattened and 3D, abstract and representational- like Justinian, both there and not there at the same time. |
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Title: Rebecca at the Well (Page from the Vienna Genesis) Culture: Byzantium Interpretation: Illuminated manuscript. Continuous narrative, showing the same character during multiple points of time to express a story. The illustrations are done in a naturalistic style common to Roman painting of the period. Made of gold&silver ink and purple vellum, very expensive and usually reserved for imperial use, so probably created for an imperial patron. Woman on left=personification of water. |
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Title: Virgin and Child Enthroned with Saints Culture: Byzantine Interpretation: Mary acts as intercessor for the viewer, you can count on her to appeal to her divine son for mercy on behalf of worshippers. The Saints on either side are said to have slain dragons, representing the triumph of the church over evil/paganism. Angels look skyward, don't belong in this world. Angels, Virgin and child are painted to look 3D and otherworldly. The saints, however, are more stylized and plain (rigid bodies and faces) and are looking directly at the viewer because they are earthly and can be talked directly to. |
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Title: Archangel Michael Culture: Byzantine Interpretation: Large ivory panel (diptych). In his serenity, physical presence, and architectural setting, you can see some Greek/Roman elements even in Byzantium- people didn't forget. His relationship to the space and frame around him doesn't make sense- his heels are on the top of steps behind the columns, but his body is in front of the columns. He's occupying 2 different spaces- he's an angel, angels don’t occupy real space. Large ivory- can see left side curving in. Wreath with cross above him, holding staff and orb. |
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Title: Annunciation of the Virgin (miniature from the Echmiadzin Gospels) Culture: Armenian Interpretation: This narrative miniature is from the Final Four Miniatures of the Echmiadzin Gospels. The subjects of the major miniatures of an illuminated Gospels were taken from those events in Christ's life most celebrated by the church. Gabriel tells Mary she will bear the son of God, she is thoughtful, they are both smiling. Mary wears robes of purple, a royal color. Made of inorganic mineral pigments. |
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Title: Mren Cathedral Culture: Armernian Location: Kars region Interpretation: Domed triple-nave basilica, rectangular plan. The exterior walls are mostly plain, but are enlivened by the facing stone that range from dark brown to rose red. Also some reliefs carved above entrances. Dome is supported by squinches. Many windows to let in natural light. Fresco paintings would have adorned the interior walls, and remains of several busts (probably prophets) can be found. |
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Title: Mren Cathedral Culture: Armernian Location: Kars region Interpretation: Domed triple-nave basilica, rectangular plan. The exterior walls are mostly plain, but are enlivened by the facing stone that range from dark brown to rose red. Also some reliefs carved above entrances. Dome is supported by squinches. Many windows to let in natural light. Fresco paintings would have adorned the interior walls, and remains of several busts (probably prophets) can be found. |
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Title: Church of Aghtamar (Holy Cross) Culture: Armenian Location: Lake Van Interpretation: Centrally planned and domed cruciform church. King Gagik founded a settlement on Aghtamar and built the church, which formed part of a monastic complex. Five bands of bas relief sculptures run round exterior walls, mostly biblical scenes. Very stylized. Whale doesn't look like a whale (stories told visually, so they didn't know what a whale looked like) |
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Title: Church of Aghtamar (Holy Cross) Culture: Armenian Location: Lake Van Interpretation: Exterior relief of King Gagik presenting model of the church to Christ. Bas-relief carving that adorns external wall on the west façade. Royal donors would often be shown with church models a in relief to represent their piety and aristocracy. Build to impress God. |
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Title: Stele with Virgin and Child and Trdat Culture: Armenia Location: T’alin, Armenia Interpretation: Steles were often found on church grounds. The Virgin and child were common subjects, and King Trdat appears often, metamorphosed with the head of a boar following the story of his conversion to Christianity (pagan king, killed woman in love with him, in punishment turned into boar, converted to Christianity, turned back, redemption by building churches) |
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Title: Khachk’ar Culture: Armenian Interpretation: Carved on its surface with symbols of the four evangelists, a massive cross, small birds at fountains, and surrounding patterns of interlacing--is an example of the importance of the Gospels to the Armenian people. It features pages from canon tables, and is thought never to have had an inscription. The carved interlaces form a 'frame' around the monumental cross, which rests above the symbols of the evangelists. The large head of Saint Matthew's angel presides over the smaller heads of Saint Mark's lion, Saint Luke's ox (on its side), and Saint John's eagle (in profile) |
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Title: Great Mosque (Congregational Mosque) of Cordoba Culture: Islamic Location: Cordoba, Spain Interpretation: It is comprised of a large hypostyle prayer hall (hypostyle means, filled with columns), a courtyard with a fountain in the middle, an orange grove, and a minaret (a tower used to call the faithful to prayer). Originally attached to a palace. |
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Title: Great Mosque (Congregational Mosque) of Cordoba Culture: Islamic Location: Cordoba, Spain Interpretation: The expansive prayer hall seems magnified by its repeated geometry. It is built with recycled ancient Roman columns and two-tiered, symmetrical arches, made of stone and red brick- forms pattern that draws the eye but also makes it more structurally sound. Double tiered design increases height of interior space, inspiring awe. |
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Title: Great Mosque (Congregational Mosque) of Cordoba Culture: Islamic Location: Cordoba, Spain Interpretation: Above the mihrab, is a huge dome. It is built of crisscrossing ribs that create pointed polylobed arches. Supported by squinches. Covered with gold mosaic in a radial pattern. Intersection of structure and decorative purposes. Vine scrolls decorating domed area. Inscriptions talking about God, but no icons- ornamentation was ambiguous so everyone could have their own interpretation of the deity. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: Holy site for Jews, Christians, and Muslims. Central planned, the structure is octagonal. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: The Rock is enclosed by two ambulatories (in this case the aisles that circle the rock, allowing visitors to walk around) and an octagonal exterior wall. The central colonnade (row of columns) supports a rounded drum that supports the dome. The colonnades are marble on their lower registers, and their upper registers have mosaics. The 2 styles contrast! No figural decoration, just arabic writing (excerpts from Qur'an) and mosaics. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: Its architecture and mosaics were patterned after nearby Byzantine churches and palaces. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: Natural light comes in through the windows on the drum, and the gold glimmers in the light, giving off an ethereal vibe. Juxtaposition b/c the focus of the building isn't art or architecture, but a plain rock. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: The mosaics in the Dome of the Rock contain no human figures or animals. While Islam does not prohibit the use of figurative art, it seems that in religious buildings, this proscription was upheld. Instead, we see vegetative scrolls and motifs, as well as vessels and winged crowns, which were worn by Sasanian kings. |
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Title: Dome of the Rock Culture: Islamic Location: Jerusalem Interpretation: The mosaics in the Dome of the Rock contain no human figures or animals. While Islam does not prohibit the use of figurative art, it seems that in religious buildings, this proscription was upheld. Instead, we see vegetative scrolls and motifs, as well as vessels and winged crowns, which were worn by Sasanian kings. |
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Title: Arcade Mosaics, Great Mosque of Damascus Culture: Islamic Location: Syria Interpretation: Attributed to Byzantine workmen, these mosaics appear on the prayer hall, the inner side of the perimeter walls, and the court facades. Flowing rivers, fantastic houses, and richly foliate trees ornament the golden background. The motifs in these mosaics are similar to those of the Dome of the Rock. The meaning of these verdant mosaics is related to passages from the Qur’an quoted in inscriptions on the walls. |
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Title: Lion and Gazelle mosaic from Khirbat al-Mafjar Culture: Islamic Interpretation: Figural art, non religious. This pavement mosaic in the reception hall of a lion attacking a gazelle underneath a blooming tree is a demonstration of caliphal power. This is consistent with what we might expect from architecture in a place where authority was exercised. The appearance of power and wealth would expedite that process, as well as impress visitors. |
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Title: Baptistery of St. Louis Artist: Muhammad ibn al-Zain Culture: Islamic Interpretation: On the outer surface, the decorative panels, interspersed with roundels, depict running animals in the upper and lower bands. The exterior also depicts scenes from the Mamlūk court. The center shows scenes of horsemen flanked by attendants, soldiers and falcons. Inside the basin, four oblong panels depict two hunting scenes, then two battle scenes. Artist signed it 6 times. Shortage of Silver. |
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Title: Temple of the Inscriptions (Tomb of Pakal the Great) Culture: Maya Location: Palenque, Mexico Interpretations: Built as the funerary monument for Pakal. 9 levels = 9 levels of hell. 365 steps = Maya year in days. Flat platform on top of steps = where rituals were performed. Land around temple so people could gather. Roof combs- add height, polychromed so they would have been colorful and eyecatching. Located in forest- relationship with nature emphasized. The five entrances in the front of the building are surrounded by piers bearing both carved images and the hieroglyphic texts in Maya script for which the temple was named. |
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Title: Lid of the Sarcophagus of Pakal the Great Culture: Maya Location: Palenque, Mexico Interpretations: Inherited throne from mothers line, very rare. Memorialized as if he was sacrificed, but actually lived out his life. The three levels of the Maya world (the sky, the earth and the underworld) are connected by a cross, representing the tree of life, from which Pakal seems to emerge to new life. A rich series of offerings accompanied the king in his travel to the afterlife, jewels and ornaments. Images depicting life of ancestors around edges of lid. Relationship b/w human and agriculture b/ tree grows from him. Sculpted in naturalistic style (not as angular) |
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Title: Sheild Jaguar and Lady Xok Culture: Maya Location: Yaxchilan, Mexico Interpretaion: One of three tablets. Lady Jok is kneeling in front of husband Sheild Jaguar. She is blood letting, doing auto sacrifice. Pulls thorny strong across tongue, blood is burned so it goes up to deities. Both heavily ornamented in ceremonial clothes. Jaguar's headdress feathers indicate he will also be bloodletting. Inscriptions in cuneiform narrate the relief. Same size, but King still dominates (height)
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Title: Cylindrical Vessel with Ballgame Scene Culture: Maya Interpretation: Game the ancient Maya played with a solid rubber ball in a masonry court, striking the ball with their hips, not their hands. Each player wears protective gear. Water lily, deer, and bird headdresses distinguish the players. For the Maya, the ballgame was both a popular sport and a ritual event with many levels of meaning. Symbolically, it reenacted the primordial game in which the mythical Hero Twins played against the lords of the underworld. It was therefore a metaphor for life, death, and regeneration. The ballgame could also be political theater. The hieroglyphic texts on this vessel name two rulers and their politics. Both may have been players in this game. |
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Title: El Castillo pyramid with Chacmool Culture: Maya Location: Chichen Itza Interpretation: The pyramid consists of a series of square terraces with stairways up each of the four sides to the temple on top. Sculptures of plumed serpents run down the sides of the northern balustrade. During the spring and autumn equinoxes, the late afternoon sun strikes off the northwest corner of the pyramid and casts a series of triangular shadows against the northwest balustrade, creating the illusion of a feathered serpent "crawling" down the pyramid. The chacmool is a distinctive form of Mesoamerican sculpture representing a reclining figure with its head facing 90 degrees from the front, leaning on its elbows and supporting a bowl or a disk upon its chest. More naturalistic style (shape of body) Pyramid still has elements like roof comb, radial style pyramid, 9 levels of underworld, etc. Need knowledge of astronomy to build pyramid in correct spot. |
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Title: Jewelry of Queen Arnegunde Date: 580-590 CE Culture: Medieval Location: Paris Interpretation: Gift economy (people were moving a lot, so portable wealth) peoples status was shown by materials they owned. Jewelry of a queen. Each made of precious metals, which displays wealth of queen. Actually buried with her, a ritual that only happened through the 6th century. |
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Title: Purse Lid from the Sutton Hoo Burial Ship Culture: Medieval Interpretaion: Found at burial site on a ship, made of gold and whalebone. Owner must have been rich. Wealth, and its public display, was probably used to establish status in early Anglo-Saxon society. The purse lid was made to cover a leather pouch containing gold coins. The plaques include twinned images of a bird-of-prey swooping on a duck-like bird, and a man standing heroically between two beasts. The fierce creatures are perhaps a powerful evocation of strength and courage, qualities that a successful leader of men must possess. Cloisonné was style it was made in = method of soldering metal onto gold foil, then filling it with glass or enamel. |
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Title: Palace Chapel of Charlemagne Culture: Medieval Interpretation: The building is a centrally planned, octagonal, domed chapel. The east end had a square apse, and was originally flanked by two basilican structures. San Vitale in Ravenna was inspiration (ascending layers and opulence) Roman triumphal arches. Symbolizes the unification of the West and its spiritual and political revival under Charlemagne. Two tiers of paired Corinthian columns enhances planar geometry of design. Walls covered with mosaics, enhanced by both artificial lights and exterior lights. Charlemagne had a throne there, and was buried there. |
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Title: Page with the Beginning of the Text of Matthew's Gospel (from the Lindisfarne Gospel) Culture: Medieval Interpretation: An illuminated manuscript gospel book. Elaborately decorated letters that included figures, animals, and vegetal motifs, but are generally hard to read. This indicates that style might have been more important than the practicality of the book. It was most likely on display for people to view and used in processions instead of kept in a monetary library. Made of vellum, so expensive as well as ornate. Hard to read, was necessary to spend time with book and reflect. |
