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30 Cards in this Set
- Front
- Back
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Page from Qu'ran in Kufic Script, from Syria 900 CE Islamic Art the script itself is considered sacred |
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Frieze detail at the Mshatta Palace in Jordan 750 CE Islamic Art the wall is considered the barrier between the sacred and the mundane - where the wall comes away from the mosque, figurative carvings are considered tolerable |
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Dome of the Rock in Jerusalem c. 690 CE Islamic Art not a mosque, but the sacred ground where Abraham almost sacrificed his son |
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Interior prayer hall in the Great Mosque of Cordoba c. 800 CE Islamic Art iconic Islamic double horseshoe-shaped arches located in the hypo-style prayer hall |
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Tile Mosaic Mihrab from the Madrasa Imami in Isfahan c. 1354 CE Islamic Art nothing would be placed inside, unlike early christian niches, to avoid the dreaded idol worship |
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Pyxis of al-Mughira 968 CE Islamic Art presence of figurative carvings denote that this piece is secular, not sacred |
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Torso, from Harappa, Indus Valley 2000 BCE Indian Art displays a yogi, or one who practices yoga, taking a cleansing breath (distended stomach) |
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Lion Capital from an Ashokan Pillar at Sarnath, Uttar Pradesh, Maurya Period c. 250 BCE Indian Art an axis mundi which displays the "Lion of the Shakya Clan," or Buddha, connecting the Earth to the Heavens |
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Yakshi with Fly Whisk c. 250 BCE Indian Art carving of Yakshi, goddess of fertility, who had large breasts and wide hips, who would later be considered the 'mother of Buddha' |
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Standing Buddha from Gandhara, Kushan Period 200 CE Indian Art depiction of Buddha with iconic urna and ushnisha, symbolizing his wisdom |
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Bodhisattva Padmapani, fresco wall painting, Ajanta 450 CE Indian Art depicts a Bodhisattva, who, in Mahayana Buddhism forgoes nirvana to stay and help others achieve it |
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Shiva as Lord of teh Dance (Nataraja) c. 1000 CE Indian Art the statue of Shiva were worshiped and cared for as if the statue were the god himself |
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Purse Cover from the Sutton Hoo Burial Ship c. 625 CE Medieval Art has 'animal form and interlace pattern' iconic to Celtic art, inlaid with enamel |
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Symbol of St. Matthew from the 'Book of Durrow' c. 660 CE Medieval Art very flat and stiff composition iconic to Celtic figures of the Evangelist, Matthew |
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Cross and Carpet Page from the "Lindisfarne Gospels' c. 700 CE Medieval Art extremely intricate woven and interlacing patterns created a very 'busy' look, common to celtic art |
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Chi-rho-iota page from the 'Book of Kells' c. 800 CE Medieval Art artistic representation of greek letters with hidden symbols throughout, such as the dead mouse, symbolistic of Jesus as the 'mousetrap' that trapped the devil |
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St. Matthew form the 'Gospel Book of Charelmagne' c 660 CE Carolingian Art art style begins to take on more Greek and Roman styles, though not on par with Classical yet |
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Crucifixion cover from the 'Lindau Gospels' c 870 CE Carolingian Art example of repousse, in which the back of a sheet of metal is hammered to indent a relief into the other |
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Doors of Bishop Benward at the Church of St. Michael's in Hildesheim 1015 CE Ottonian Art inspired by Roman bronze-cast doors, this one depicts scenes from the Old and New Testament |
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Gero Crucifix 970 CE Ottonian Art more evidence of suffering compared to Celtic examples |
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Saint-Sernin in Toulouse, (interior) 1100 CE Romanesque served as a common place for those on a pilgrimage with repetitive verticals and high ceilings to inspire awe |
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South Portal of Saint-Pierre in Moissac 1115 CE Romanesque depicts God during a last judgement scene in the tympanum due to negative outlook during the time |
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(Gislebertus) Last Judgement Tympanum from Saint-Lazare in Autun 1120 CE Romanesque depicts souls being weighed, in which demons try to weigh them down, and angels try to lift them up |
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(Wiligelmo) Creation and Temptation of Adam and Eve, Modena Cathedral c 1110 CE Romanesque depicted in a Classical style, with stiff, emotionless figures, but with Christian iconography |
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Ambulatory and radiating chapels of the Abbey Church of Saint-Denis c 1140 CE Gothic designed by Abbot Suger, who wanted to create 'lux nova' after studying Byzantine mosaics and stained glass |
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Chartes Cathedral (interior) 1200 CE Gothic resembles previous cathedrals except it is taller, with more windows and peaked arches with a vaulting web running down the nave |
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Old Testament Kings and Queens, jamb statues from Chartes Cathedral 1150 CE Gothic not proportional - not classical |
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Reims Cathedral (west facade) 1220 CE Gothic there are three doors to represent the holy trinity and stained glass has replaced stone reliefs in the tympanums |
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Annunciation and Visitation, jamb statues of Reims Cathedral (west facade) 1230 CE Gothic stylized proportions, not natural |
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Roettgen Pieta 1300 CE Gothic disproportional but filled with stylized agony |
