HoA Week 1 Flashcards
(111 cards)
1
Q
Gregorian Calendar
A
Modern calendar based on Christ’s birth.
2
Q
CE
A
Common Era
3
Q
Pascal Table
A
Calendar for determining Easter dates.
4
Q
Eastern Roman Empire
A
Greek-speaking Christian empire post-Rome’s fall.
5
Q
Middle Ages
A
Period from 500 to 1500 AD.
6
Q
Humanism
A
Cultural movement emphasizing human potential.
7
Q
Isidore of Seville
A
Bishop known for encyclopedic work
8
Q
OT Maps
A
Maps centered around Christ’s crucifixion.
9
Q
Michelangelo
A
Renaissance artist known for realism.
10
Q
Gumbrecht
A
Writer with narrow definition of art.
11
Q
Art as Luxury
A
Debate on art’s necessity versus expendability.
12
Q
Stylisation
A
Artistic expression through creative styling.
13
Q
Brian Eno
A
Artist emphasizing art’s role in perception.
14
Q
Flavia Julia Constantia
A
Daughter of Constantine
15
Q
Bishop Eusebius
A
Wrote about Christ’s dual nature.
16
Q
Hildegard Von Bingen
A
12th-century mystic with intense visions.
17
Q
Good Shepherd
A
Early Christian symbol representing Christ.
18
Q
Imperial Portraiture
A
Idealized representations of rulers in art.
19
Q
Alexander the Great
A
Historical figure influencing political imagery.
20
Q
Book of Kells
A
Illuminated manuscript depicting Christ’s death.
21
Q
Celtic Warrior Imagery
A
Art depicting Christ as a warrior figure.
22
Q
Pictish Symbols
A
Abstract designs from ancient Scottish culture.
23
Q
Victory Wreath
A
Symbol of triumph associated with Christ.
24
Q
Art and Belief
A
Interconnection between artistic expression and faith.
25
Stylistic Breaks
Artistic shifts noted by the 1600s.
26
European Geographic Hubris
Overconfidence in European cultural superiority.
27
Cultural Definition
Culture defined as creative arts and practices.
28
Grabar's Theory
Proposed that the absence of crucifixion iconography in early Christian art was due to a lack of Roman artistic models and a focus on Christ's glory rather than suffering.
29
Iconographic Mechanics
The idea that the representation of suffering in Christian art required a shift in perception from viewing the victim as dehumanized to recognizing them as sacred and victorious.
30
André Grabar
A scholar who analyzed the paradoxes of Christian borrowing in art and proposed theories regarding the representation of Christ's suffering and the use of imperial iconography.
31
Early Christian Art Development
The period following Jesus' death where Christian art began to emerge
32
Roman Victory Iconography
The use of imagery from Roman art to depict triumph
33
Transformation of Suffering
The shift in how suffering was depicted in art
34
Judgment and Execution
The representation of judicial scenes in both Roman and Christian art
35
Early Christian iconography of the crucifixion
Was virtually absent for nearly 200 years after Jesus' death.
36
Crucifixion in early Christian art
Was not commonly depicted
37
Beheading in Roman culture
Was considered a more civilized form of execution compared to crucifixion.
38
Roman trophy (tropaeum)
Was a structure symbolizing victory
39
Tertullian's treatise against Marcion
Highlights early Christian perspectives on suffering and resurrection.
40
Gemma Augustea
Is a significant Roman artifact depicting the emperor's triumph over captives.
41
Tropaeum Traini (Trophy of Trajan)
Commemorates Trajan's victory over the Dacians and features bound captives.
42
Cause of lack of crucifixion iconography
Early Christian authors focused on resurrection
43
Influence of Roman art
Depicted violence and triumph
44
Absence of crucifixion models
In Roman art led to a reliance on alternative representations of Christ's victory over death.
45
Use of decollation in Christian art
Allowed for a visual connection between the suffering of martyrs and the glory of Christ.
46
Depiction of Suffering in Christian Art
Focused on resurrection and salvation
47
Execution Methods in Christian Art
Preferred to depict beheading as a civilized form of execution.
48
Iconography Purpose in Roman Art
Intended to reinforce the power and triumph of the emperor and the empire.
49
Justin Martyr
Early Christian apologist who drew parallels between the Roman tropaeum and the Christian cross
50
Tertullian
Early Christian writer who also referenced the cross as a trophy
51
Eusebius
Historian who transformed the Christian cross into a symbol of imperial victory and protection for the empire.
52
Iconography of Suffering
The adaptation of Roman imperial iconography to depict Christian martyrdom
53
Christian Appropriation of Roman Art
The process by which early Christian artists adapted Roman artistic conventions to convey Christian themes
54
Legalization of Christianity (4th Century)
Allowed for the incorporation of traditional Roman iconography into Christian art
55
Emergence of Christian Martyrdom Imagery (3rd-6th Century)
The gradual introduction of explicit depictions of martyrdom in Christian art
56
Original Iconography
Depiction of vanquished figures beneath trophies.
57
Christian Adaptation of Original Iconography
Omission or transformation of figures to Roman soldiers.
58
Emphasis on the power of the victor
Focus on the suffering and victory of Christ and martyrs.
59
Justin Martyr's Apology
References the cross as a trophy.
60
Eusebius's reference to the cross
Refers to the cross as a 'saving sign' and a talisman for the empire.
61
Transformation of trophy iconography
Occurred in the fourth century with the legalization of Christianity.
62
Tropaeum
Refers to a Roman trophy symbolizing victory.
63
Crux invicta
Translates to 'unconquered cross
64
Significance of the cross
Evolved from a symbol of execution to one of victory and resurrection.
65
Justin Martyr's writings on the cross as a trophy
Established a precedent for viewing the cross as a symbol of victory in Christian iconography.
66
Legalization of Christianity in the fourth century
Allowed for the adaptation of Roman victory imagery into Christian art
67
The absence of vanquished figures in Christian art
Shifted the focus from subjugation to resurrection and victory in Christian narratives.
68
The adaptation of Roman martyrdom imagery
Created a new genre of Christian art that emphasized suffering as a form of victory.
69
Roman Trophy Iconography
Depicts the vanquished to emphasize victory.
70
Christian Cross Iconography
Omits or transforms the vanquished figures.
71
Annewies van den Hoek
A scholar who has contributed to the understanding of early Christian art and iconography.
72
John Herrmann
An academic known for his work on ancient pottery and its cultural implications.
73
Transformation of Victim Imagery
The shift from depicting victims as passive and vulnerable to portraying them as triumphant and heroic
74
Celebration of Martyrdom
The use of martyr imagery not just for commemoration but as a celebration of victory over death and suffering.
75
Development of Christian Martyr Iconography
The evolution of how martyrs were depicted in art
76
Emergence of ARS Ware
The production and popularity of African Red Slip ware during the third and fourth centuries
77
Bowl in Mainz
Features a scene with a human figure enthroned
78
Depiction of Thecla
Shows Thecla flanked by lions
79
damnatio ad bestias
Refers to the punishment of being thrown to wild beasts in ancient Rome.
80
African Red Slip ware (ARS)
A type of pottery produced in North Africa during the third and fourth centuries CE.
81
Thecla
A significant Christian martyr whose iconography evolved from traditional violent imagery to represent her as a heroine.
82
titulus
Refers to an inscription or label that often indicated the nature of a crime in ancient Rome.
83
The popularity of violent imagery in arenas
Influenced the depiction of Christian martyrs
84
The adaptation of traditional combat scenes
Led to the portrayal of martyrs like Thecla as victors rather than victims.
85
The use of ARS ware for everyday objects
Allowed for the celebration of martyrdom in daily life
86
Traditional Combat Imagery
Victims depicted as vulnerable and passive.
87
Christian Martyr Imagery
Martyrs depicted as victorious and empowered.
88
Pyis of Menas
Celebrates Christian saints' humility and strength.
89
Bentham's Box
Contained an ancient manuscript
90
Colonial Attitude
Disrespectful to native traditions regarding artifacts.
91
Saint Columba
Possibly authored one of the oldest Christian manuscripts.
92
Writing's Purpose
Replaces human body; facilitates self-effacement.
93
Augustine of Hippo
Criticized ornate writing; valued clarity and grammar.
94
Block Capitals
Clear
95
Illuminated Initial
Decorative letter blending word and image in manuscripts.
96
Lindisfarne Gospels
Showcases artistic evolution in early medieval manuscripts.
97
Runic Alphabet
Used in early manuscripts
98
Greek Letters
Incorporated into Latin text for stylistic purposes.
99
Self-Effacement in Writing
Writing preserves thoughts when speaker is absent.
100
Visual Assignment
Writing captures and preserves human ideas visually.
101
Authoritative Word
Written word often considered more reliable than images.
102
Flatness of Surfaces
Emphasizes the relationship between words and images.
103
Globalization of Church
Spread of teachings and gospels worldwide.
104
Symbolism of Peacocks
Represent resurrection; meat preservation in manuscripts.
105
Celtic Flourishing
Period from 350-100 AD marked by cultural growth.
106
Travel in Medieval Times
Facilitated cultural exchange and manuscript creation.
107
Elite Status Objects
Inspired the creation of illuminated manuscripts.
108
Divine Manuscripts
Religious texts emphasizing spiritual significance.
109
Gospel of John
Philosophical text emphasizing the Word (Logos).
110
Materials in Manuscripts
Various materials used in the creation of texts.
111
Materiality and Forms
Explores the physical aspects of manuscripts.
