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47 Cards in this Set
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Terracotta warriors Ancient China, Xian c 210 BCE (found in 1974) in subterranean structure faced and covered with wood made for Tomb of Emperor Qin Shihuang Army to fight in afterlife Faced west to fight opposing armies Buried almost right after death started at the beginning of emperors reign
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Kneeling archer reloading crossbow only figure in tact
All were painted and had details, were not generic and had different ethnicity but all have long hair put up for protection; different facial types
Hand to hand combat lightweight clothing and ready position |
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Calvary horses Mongolian Ponies Terracotta c 210 BCE Mouth Open No tails Naturalistic Pieced together with modern plaster |
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Warriors Life size Armor appropriate to position Made accurately Horses had chariots most likely made of wood with leather strapping (prob) Very specific
5 pits 3 excavated 1 empty tomb in massive burial mound |
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Haniwas
Terracotta 5-6th century CE Generalized (wear helmet and armor) Horses are cylinders put together with few details from kyto (6th CE) Earthenware female shaman
above ground and connected with tombs to connect with deceased (conduit) artist made them into figures never painted |
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Shinto Shrine at Ise 690 CE Still a religion today (can be shinto and budhist Belief in nat world and its sacredness dont need paint Kami (nat spirits) Surrounded by virgin forest Square with two rectang sectors (1 with build other empty (ma - blankness)) White gravel ground Shrine rebuilt on otherside every 20 years exactly the same (emperor helps) Empty has form (had buildings on it will have buildings on it) Kami worship (bow deeply x 2; clap x2 chest heigh, worship with hands together; bow deeply) offering wash hands before entering thatch roof forever old and new |
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Yakshi bracket figure india stone 1st century BCE transparent skirt idea of fertility sexuality |
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Shiva as lord of dance Bronze 1000 CE Stance shows divininty perfectly balanced 3pt pose mult arms shows diff qualities / aspect ring of smsaru dancing on back of dawrf of ignorance how knowledge lifts you up |
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Teaching buddha India Sandstone 5th century CE preaching first sermon in the deer park First teaching Spinning wheel of dharma; one teaching of middle way Top knot; extra compartment of head |
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Buddha Second 1/2 of 6th century India Gilded Bronze
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great Stupa at sanchi 3rd century BCE 150 BCE Expansion Solid like mountain incorporates remains enter at 4 cardinal points climb and walk around it |
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Borobudur Java 835-60 CE Buddhist Shrine Huge/ mountainous Stupah of Sorts Axis Mundi 2perfect geometrical forms brought together Circumnavigate Stupahs at tops Contain parts/icons of buddhas |
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Krater Geometric Greek ca 750 BCE Painted Teracotta Names refer to shape Big andTall Open at top and bottom; nothing stays in connected with ground
Man laying dead on funeral pyre People pulling on hair around him Put over burial locations Pour libations over burial locations
Figures (tri chest square, heads O) ABstracted into geometric shapes painted on pot no inscription Prob Premade No details except shields and chariots so prob soldier patterning greek key design on rim |
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Temple of Hera Paestum Italy c550 BCE Doric Capitals Columns Skinny at top, balloons in, comes in at bottom; 9 @ top 18@ sides 2:1 ratio balance Clay babies found @ altar |
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Temple of Hera Paestum Italy c550 BCE Doric Capitals Columns Skinny at top, balloons in, comes in at bottom; 9 @ top 18@ sides 2:1 ratio balance Clay babies found @ altar |
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Temple |
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Marble statue of a kouros c 590-580 BCE ARchaic stylye In the round Freestanding Young man 1 foot in front of the other From Egypt Stable ARms close to bodyegytainish
Nude only wears torque and band in hair
Level of goodness reflected in beauty of body Judged books by the cover athletes - beautiful bodies celebrated stars believed to be athlete could be celabratory or memorial/ death or victory
prob orig painted naturalistic and proportional fillet on head athletes competed in nude
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Achilles and ajax playing dice Painted by Exkians Black figure vase Amphora c530-40 BCE
Signed Made own pots blacked out most of pot focuses eye on center
Two of fiercest fighters playing dice armor hung up carrying spears prepared if ambushed
black figure painting fire lines scratched out names coming from mouth
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Panathenaic amphora with the figure of Athena Black Figure Painting c 500 BCE
athena always on one side games held every 2 years in honor of athena would win ampora such as this filled with olive oil for winning (bathe, cook, lotion, light)
Athena (white skin b/c female) male wouldve been black
2 main colors black fig vase black on terracotta |
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Death of Sarpadon Red Figure Krater c 515 BCE
Made by Euphonius Refd Figure painting (painted around figures
Punch Bowl (water and wine)
messenger god (Hermes) - center
Sarpadon son of zues; mortal; Sent leep and death to get body to be honored
names written in red
Kilix low saucer cup to drink lying down |
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Statue of Diadoumenos ca 69-96 AD Roman Copy of A Greek Bronze Statue by Polykleitos ca 430 BCE Marble
"fillet Tyer" Contrapposto Nude athlete only known through copies Polykleitos how body works and moves together
penis removed by gizalah richter kept in drawer in desk
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Parthenon Iktinos and Kallikrates Athens 447-432 BCE
doric columns everything centered pronaous is hardly there treasury expanded (pronaus for treasury) 8x16 columns 2:1 ratio
converted to christian church in 5th century
1460 turks changed church to mosque 1687 attacking venetians ignited ammunition stored inside parthenon
1806 bought sculptures from ruling turks gave to britian (Brit Lord Elgin)
would have all been painted
Terracotta roofline lined w marble |
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Parthenon
pediments frieze - continues band along building - tryglyphs decorate frieze
open square - metope used for carving
peristyle - bulges out in center to look striaght
pediments - unknown what was truly on them but one believed to be birth other believed to be story of Athena and Posiden
horse of selene Dionysus from Ediment God of wine almost fully in round perfect in nude |
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Parthenon |
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Parth |
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Head of a woman front of parthenon 448-432 BCE
front of parthenon idealistic wore earings band decorated in hair reflect mixed materials - metal with stone sculpture
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Marble Metatope With a Battling Centaur and Lapith Phidias Parthenon c 440 BCE
Lapith - type of human
2lapiths get married - drunk centaur rapes bride - war ensude
super high relief
balanced but not symetrical |
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Aphrodite of Knidos Composite of two roman copies after original marble of c 350 BCE
nude and naked
narrative holding garments look like she took em of to bathe
nude beauty of body
naked doesnt expect to be seen |
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Aphrodite of Melos c 150 BCE Marble
contraposta
cloak around lower body but about to fall off sexual and interesting Visibly twisting and turning
captures a moment in time - new
mult viewpoints |
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Nike of samothrace c 190 BCE Marble
Winged victory for naval battles not a being instead an idea of victory - given female form with wings
believed to be landing on boat in front of fountain on edge of cliff
likea bird
had arms wet clothes - sexier
wearing two garments - chiton - dress and himation - cloak - himation falling off |
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Statue of an old market woman 1st century CE Roman Copy? Marble
not beautiful b/c shes old no teeth hunched over bags under eyes wrinkled everywhere possibly had cane
chitton loose and sloppy - tied in big knot
drunk; crown of grape leaves (Dionysis) shown on face; not idealistic
REAL |
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Julius Caesar, Portrait Bust, 49-46 BCE, Marble
The bust is thought to have been carved to honor Caesar as a patron of Arles, a city he used as a base for his campaign against his rival, Pompey, for leadership of the Roman Empire.
Mr. Goudineau said that he thought the bust showed the same face as that of the Caesar on Roman coins; he dismissed the arguments presented by those who questioned the bust’s depiction. “Which noble from Arles would order a bust of himself made in the best, the most expensive and rare marble, and ship it by boat?” he asked. |
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Portrait bust of a man, 1st century BCE, Republican Rome, Marble
The traditional Roman concept of virtue called for old-fashioned morality, a serious, responsible public bearing, and courageous endurance in the field of battle. Prestige came as a result of age, experience, and competition among equals within the established political system. These are the values expressed in portraits of grim-faced, middle-aged men, such as the one featured here. Roman cultural identity was also structured around a profound respect for family and ancestry, and a principal funerary practice involved the public display of portraits of distinguished ancestors at the funeral of family members. These wax masks, called "imagines," served to advertise the family's illustrious history of public service and to inspire younger generations to strive for such achievements. Similarly, "veristic" portraits, so-called because of their seemingly harsh and severe realism, emphasized the solemnity with which the Romans regarded their civic and military responsibilities. Because the Romans considered facial features to be the best conveyors of personality, age and wisdom gained through long, hard years of life experience were accentuated in portraiture in order to project the qualities they valued most highly.
While realism was a component of Hellenistic art as well, the Republican style is also linked to Etruscan and Italic sculptural traditions. The ancestors of the Roman portrait bust can be traced to the stylized heads on Etruscan funerary jars and urns, and especially to portrait sculptures such as the bronze "Brutus" bust in the Palazzo dei Conservatori in Rome. Roman portraiture was also influenced by Etruscan honorific statuary, such as the famous Arringatore, the Orator, now in the Museo Archeologico in Florence. Dedicatory portrait statues proliferated in Roman public spaces, and represent a major component of portrait sculpture in the Republic. Military commanders and politicians were rewarded for their achievements with honorific statues and dedicatory inscriptions erected by their peers or local administrative councils. These sculptures advertised the subject's abilities in a public forum, and also elevated his family's standing in Roman societ |
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Aulus Metellus, late 2nd century or early 1st century BCE, bronze
Life size bronze statue of Aulus Metellus, a Roman official. depicts the man addressing a gathering, his arm outstretched and slightly raised, a pose expressive of rhetorical persuasiveness. Perhaps the statue was mounted on an inscribed base in a public space by officials grateful for Aulus' benefactions on behalf of their city. Found near Perugia. c. 80 bce. made of bronze, height 5'11. Found in Museo Archeologico Nazionale, Florence |
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Augustus of Prima Porta, c. 20 BCE Marble
1st century A.D marble emphasizes the power of Rome embodied in Augustus as emperor By his right leg, cupd (venus's son) rides a dolphin-serves as a reminder that Augustus traced his lineage to Aeneas and was descend from the gods see all details in 239, |
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Ara Pacis, Rome, 13-9 BCE, marble
Altar of Augustan peace, marked the return of Augustus to Rome in 13 B.C. and post civil war peace, propaganda, hellenistic period; In recognition of Augustus' achievement, the Roman Senate voted in 13 B.C. an altar dedicated to peace and to the emperor who had made the end of the civil wars possible—The Ara Pacis Augustae, the Altar of Augustan Peace. Justly proud of his altar Augustus made mention of the circumstances that led to its creation in his Achievements of the Divine Augustus ( Res Gestae divi Augusti) , the official autography he wrote near the end of his long reign. |
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Mother earth or the Pax Augustana Rome, 13-9 BCE, marble
Relief of Aeneas (son of Venus and one of Augustus' forefathers) making a sacrifice. |
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Allegory rep of the idea |
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Temple, perhaps dedicated to Portunus, Rome, late 2nd century BCE
small rectangular temple on a podium built of tufa (local stone) and stucco (material to look like marble), dedicated to god of the ports, ionic with a continuous frieze. sudo peripteral, monolithic columns. Function: temple and to house trophies of war and other spoils. Republican Rome. |
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Arch of Titus, Rome, c. 81 CE The Roman Senate and People to Deified Titus, Vespasian Augustus, son of Deified Vespasian Spoils from the Temple of Jerusalem Triumph of Titus
ome Early Empire. Triumphal arch:Historical Context -Rome, Italy -Early Empire -Titus dies in 81 CE, two years after becoming emperor, -Domition, successor, erected arch in honor of Titus -Built on Sacred Way leading to Republican Forum Romanum Technique and Style -triumphal arch: monumental structure in the shape of an archway often designed to span road; consists of two massive piers connected by an arch and crowned with entablature/attic where a statue may stand on -One passageway was typical of early triumphal arch -Engaged columns frame opening like Colosseum -Capitals are of composite type: ornate combination of Ionic volutes and Corinthian acanthus leaves. Early Empire |
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Composite Order Composite Order
Combination of Corinthian and Ionic |
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Roman arch
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Barrel Vault
the simplest form of vault consisting of an unbroken series of arches; it forms a tunnel like shape |
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Flavian Ampitheatre Colosseum, Rome, 70-80 CE
The Colosseum. Modern name originally called the Flavian amphitheater. started by the flavan. he did not live to see it completed but his sons titus had it finished in 80 B.C.E (early empire) Flavian came to power after Nero the colosseum shows Flavian rule and built over the sites Nero had built. Symbolized bringing back building programs for the people of Rome. could hold 50,000 spectators.got its name because next to it was a statue called the colosis of Nero.bottom engaged columns (tuscan style), ionic on second level, corinthian on third level, and corinthian plasters on fourth level. based on Etruscan porta marzia. 76 arches on bottom level people could enter and exist. seating shows social hierarchy. prototype for modern sports arena. interior all travertine (stone). games took place in arena. games played to the death. Bad economy roman leaders created 150 holidays it kept the ppl of Rome busy. Early Empire.
The curving, outer wall of the Colosseum consists of three levels of arcades surmounted by a wall-like attic story. each arch is framed by engaged columns with entablature-like friezes marking the divisions between levels. Each level also uses a different architectural order, increasing in complexity from bottom to top. The plain Tuscan order on the ground level, Ionic on the second level, Corinthian on the third, and Corinthian plasters on the fourth. |
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The Pantheon, Rome, c. 125 CE
Made after Hadrian became emperor Patron: Emperor Hardin created this temple to honor all the gods Revolutionary use of concrete Revolutionary architectural structure; except the facade which is composed of 8 corinthian columns Coffers- decorative panels; help lessen the weight of the dome Hemispherical dome Decorative panels illustrate Renaissance drawings Unified Space Oculus allowed for light, connections to the sky/ gods and to add dramatic effect High Empire |
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The Pantheon, Rome, c. 125 CE Dome of the Pantheon
the shape of the Pantheon's dome belies its sophisticated design and engineering. Marble veneer and two tiers of richly colored architectural detail conceal the internal brick arches and concrete structure of the 20-foot-thick walls of the rotunda. The wall is punctuated by seven exedrae (niches) -rectangular alternating with semicircular-that originally held statues of gods. The square, boxlike coffers inside the dome which help lighten the weight of the masonry, may once have contained gilded bronze rosettes or stars suggesting the heavens. |
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Reconstruction of Pantheon
Temple to Mars, Venus, and the divine Julius Caesar. |
