Midterm IDs Flashcards
Paleolithic Art
Chauvet Cave, France, 30,000 BCE
Significance:
They indicated motion of the animals using the 3D shape to the walls, flickering lantern lights, and multiple limbs/horns to give a sense of power and strength to the animals that may have had some spiritual significance (as they were not the animals frequently hunted). Overlapping images dated years apart show that this cite was repeatedly visited, possibly for some ceremonial or spiritual purpose as the cave was not a place Paleolithic humans lived.
Paleolithic Art
Woman of Willendorf, Austria, 24,000-22,000 BCE
Material: Oolitic Limestone
Significance: Small figurine likely meant to be handled or carried (cannot stand on its own). The figurine has no facial features and limited limb definition, but large breasts and prominent vulva and naval take center stage as well as sagging skin and decorated headdress or braided hair. The focus on female anatomy could denote fertility or accumulation of wisdom since the figure is aged.
Early Settled Communities:
Ancestor Skull, Jericho, Jordan Valley, ca. 7000 -6500 BCE
Material: Plaster, Human Skull, cowrie-shell inlay
Significance: Suggests a possible ceremony with dead ancestors as the skulls were removed from their graves, ‘refleshed’ with plaster, decorated with rare shells, and then placed back in their grave cites. Bodies were buried in graves under the house, and this along with the potential ceremony with the disembodied skull suggests a close relationship with the dead, or at least a strong importance on the deceased.
Early Settled Communities:
Wall Painting from Çatalhöyük, Turkey, 6400-6200 BCE.
Material: Used materials of the animals they were depicting as extra decorations
Significance: Similar to ancient cave painting, the art of Çatalhöyük expressed the power and strength of animals, which can be seen with the difference in size between the main creature (perhaps a red deer, the main food source) and the people around it who seem to be baiting or chasing it. One of the early examples of humans interacting with animals.
Art of Early Africa: The Highlands of the Sahara
Elephant Relief, Messak Settafet, Libya, 7500-5000 BCE
Significance: Incised into the rock is a petroglyph in the Large Wild Fauna Style, which were large examples carved by early African artists. This elephant is extremely realistic, with accurate folds of the ears and skin. This attention to detail as long as the large amount of time it would have taken to carve these huge petroglyphs (this one is around 1/2 the size of an actual elephant!) indicate that these animals were incredibly important to the artist. The unexplained object coming out of the rear of the elephant could be excrement, which could point to this pieces being used to celebrate or bring about a successful hunt for which the poop would be used to track the animal (though most think this is a symbol of some kind and not a physical object)
Art of Early Africa: The Highlands of the Sahara
Scene of cattle with men, women, and children, Tassili n’Ajjer, Algeria, ca. 5000-2000 BCE
Material: Pigment bound with milk
Significance: This is an example of a Pastoralist style scene, which came about in the settlements that first domesticated cattle. The scene is very relaxed, with the children included (which are some of the first children found in this type of art) playing peacefully around the adults and cattle. The pigments used in this piece were bound with cow’s milk, likely adding to the focus on these animal and the importance they had to these peoples lives.
Amanitore and Natakamani on the entrance of the temple of Apedemak, Naqa, Sudan. Nubian, Meroitic Period ca. 50 BCE
Materials: Stone relief
Significance: Showing King Natakamani and Queen Amanitore in poses of military victory on the entrance to the temple for a war god. They hold the hair of many enemies while their other hand holds a weapon ready to strike and execute their prisoners. Shows military success as well as the strength of the rulers.
Southern Mesopotamian Art: Early Dynastic Period
Votive figures from the Temple of Abu, Eshnunna, Tell Asmar Iraq 2750-2600 BCE.
Materials: Gypsum, limestone, and alabaster with inlayed eyes of precious materials (lapis lazuli, shell, black limestone)
Significance: found buried under the waiting room floor where the cult statue would have been placed, indicates that these could have been used as stand ins of the people who commissioned them in eternal worship of their cult god. The ever open, wide eyes and clasped hands ready to hold libation cups also show this theme of eternal worship, though the eyes that were inlaid w/ luxury materials could also symbolize the gods eyes that constantly watch you.
Royal Standard of Ur, Royal Tombs of Ur, Tell el-Muqayyar, Iraq, 2550-2400 BCE
Materials: Wood inlaid with shell, lapis lazuli, red limestone, and bitumen
Significance: While called a standard (which would have been a ceremonial banner), it is unknown what exact purpose this artifact may have had. The different sides show early examples of pictorial narrative through the separate registers, or layers, with specific scenes depicted. One side shows scenes of a battle with enemies being beaten by an army lead by a leader as seen by his hierarchical scale. The other side depicts a feast with a procession with offerings for a leader as well as musical instruments being played. Both of these narratives show of the strength, power, and leadership that the main leader wields.
Head of an Akkadian Ruler, Temple of ishtar, Nineveh, Akkadian Period, ca. 2250-2220 BCE
Materials: Copper alloy with previously inlaid eyes of precious stone
Significance: This image of kingship shows strength and power with the strong facial features, while also showing what kind of ruler he was, with a calm and serene expression with an almost smiling mouth. His eyes would have been made of a precious material, but they have been gouged out, possibly in protest of his rule. Show dedicated realistic features and 1st example of intricate wax copper casting technique which shows the Akkadians technological prowess
Seated Statue of Gudea, ruler of Lagash, dedicated to the god Ningishzida, Girsu (Tello, Iraq) ca. 2120 BCE
Material: Diorite
Significance: The many statues depicting Gudea, the ruler of Lagash, all depict him as a peaceful and pious man, with simple clothes, folded hands, and bare feet all depicting his devout nature. His expression is calm and serene, and while his entire image is rather simple to share his piousness, his exposed upper arm shows his strength with well defined muscles. He is seated on a simple throne, and covered in inscriptions which share his devout and pious nature to the god Ningishzida or ningirsu, though much of the inscription lauds his feats and accomplishments in the name of Ningirsu. The statue itself is made of diorite, which was not particularly precious monetarily but was incredibly long lasting and polished to give a sense of Gudea’s legacy eternally persevering.
Art of West Asian Empires: Babylon (Mesopotamia)
Law Stele of Hammurabi, ca. 1760 BCE, originally installed in Babylon, but excavated in Susu (Iran)
Material: Black Basalt
Significance: Illustrates the importance of justice for Mesopotamian Kingship, with this large (7 ft) stele being displayed publicly with inscribed laws written in cuniform surrounding the base. The top of the stele has a low relief depiction of Hammurabi interacting with a seated depiction of the sun god of justice, Shamash. Shamash is handing Hammurabi rod and ring, which is a symbol of royal power. This interaction between god and ruler gives credence to Hammurabi’s authority to rule and dispense justice.
Art of West Asian Empires: Neo-Assyrian Empire
Colossus winged lion (lamassu) that guarded a portal in the Northwest Palace of Ashurnasirpal II at Kalhu, ca. 879 BCE
Material: Gypsum
Significance: Large portals that connected the major throne room to the main ceremonial courtyard, and served as imposing and powerful-looking guards. The lamassu’s depicted are mythical creatures with human heads, lion bodies, and eagle wings, and inscriptions on the base of the structure connect their mythos with the construction of the palace to act as protectors and as ‘fittingly imposing’. The beasts are carved in such a way that allows them to be seen from multiple sides, with ‘5’ legs, two in the front that show a strong standing creature, and 3 more from the side that show a prowling motion. This would have given them an appearance of movement to anyone walking past them through the portals.
Art of West Asian Empires: Neo-Assyrian Empire
Lion Hunt of Ashurbanipal, from the North Palace, Nineveh (new capital of Neo-Assyrian Empire), ca. 645-635 BCE
Materials: Gypsum
Significance: This low relief image from an orthostat (upright standing stone slab) shows a scene from a one of King Ashurbanipal’s lion hunts, which showed his strength and power over one of the most impressive animals that represented royalty and kingship. This showed a shift towards narrative scenes instead of static scenes. The King is outfitted in royal garb and jewelry and accompanied by a servant who seems to have dealt the initial blow to the lion with his bow and arrow. The lion itself is depicted as extremely muscular and strong, with defined muscles and large teeth, though its wounds are also depicted showing its pain. This image shows the strength of the king, as he is besting this powerful creature with his hand around its throat, stopping it from killing him and stabbing him through the heart.
Art of West Asian Empires: Neo-Babylonian Empire
Ishtar Gate of Babylon, 605-562 BCE
Materials: Glazed Brick
Significance: Included low relief depictions of mythical creatures such as mushussu (lion legs, snake body, horned head) and other dieties against a beautiful blue background. This level of detail and color was a feat of engineering, as it was huge and was a key entrance into the city of babylon. The gate played a major part in the akitu festival, which held a procession where the people of the city carried the statue of Marduk, the city’s god, out side of the city to a seperate temple, and then back in through the gates after 12 days. The city was highly at risk while Marduk’s statue was removed, but the ceremony of removing and returning the statue was a way of ‘re-uping’ the protections placed on the city. His return brought the return of social and political order after the ‘limbo’ the city was placed in during his absence.
Art of West Asian Empires: The Achaemenid Empire
The Apadana building at Persepolis (new imperial city) ~450 BCE
Material: stone relief
Significance: This relief uses separate registers to depict processions from different subjected territories bringing offerings to the Persian Ruler, which is a fitting decoration to have on the apadana building, which was the largest building in Persepolis and functioned as an audience hall where the Persian emperor received dignitaries and guests. The different groups can be identified by their clothing and animals, the Bactrians with camels on top, the Lydians with special headdresses to the left, and the center leading oxen were the Gandharans. The depictions represent the diverse nature of the empire as well as the subjection of these different peoples to the Persian State.
Egyptian Art: Predynastic Nile Valley
The Narmer palette, excavated at the sacred enclosure of Horus, Hierakonopolis, Egypt, ca. 3000 BCE
Material: Graywacke
Significance: Dedicated to Narmer, the legendary king who united lower and upper Egypt. Found in a temple to Horus with other offerings to the god, this palette (designed like the palettes used to mix pigments, but much to heavy to likely be actually used) depicts two serpopards (mythical hybrid of serpent and leopard) with intertwined necks which symbolize the unification of Egypt. Both sides are covered in low relief images and hieroglyphs, including the kings name written at the top, a further indication of kingship. Actual images of the king also cover both sides, with one wearing the white crown of upper Egypt holding a ceremonial mace ready to strike a captive under Horus’ (the falcon god of kingship) watchful gaze. The other side depicts Namer wearing the red crown of lower egypt and is surrounded by the headless corpses of his enemies. The violent depictions would have been used to signify Namer’s power and intimidate the viewer.
Egyptian Art: Old Kingdom - Fourth Dynasty
The Pyramids at Giza, Egypt, pyramid of Menkaure in the foreground, great pyramid of Khafre in the middle, and Khufu’s is on the right. 2589-2503 BCE:
Materials: Stone covered in fine white limestone
Significance: The main remaining monuments from the funerary complexes of these 4th dynasty rulers, which would have originally been connected through a causeway to the valley temples near the river where the king’s bodies would have been brought by boat to their final resting places. The pyramids contain the rulers’ tombs in deep underground caverns. These were meant to allow for the rebirth of the rulers and showed the power as well as technical prowess of the egyptian state through their sheer size and engineering.
Egyptian Art: Old Kingdom - Fourth Dynasty
Statue of Khafre as the enthroned king, 2558-2532 BCE
Material: Anorthosite Gneiss (represented the nile river with its patterns)
Significance: Found in Khafre’s valley temple, this statue was one of many that was said to be able to hold his spirit. He is depicted with Horus around his head, wings protectively wrapped around him symbolizing the god’s protection of the king. The symbols of royalty included in many Egyptian pieces are included, such as the ceremonial kilt, linen headdress, and false beard that were reserved for royalty. Under his throne there are depictions of ‘sema tawy’, intertwined lotus and papyrus plants which signify the unification of Egypt. His youthful idealized body symbolize his strength while his calm piercing gaze symbolizes eternity and permanence.
Egyptian Art: New Kingdom
Hatshepsut’s Funerary Complex, Dier el-Bahari, Egypt, ca. 1473-1458 BCE
Material: carved into the mountains with stepped levels which mirrored the mountains behind
Significance: Funerary complex with causeway lined with sphinx connected to the nile like with earlier Egyptian rulers. Reliefs depict scenes shower her military accomplishments, and central statue of her mummified and wearing the royal false beard as well as the combined crowns of upper and lower Egypt, connecting her to royalty and Osiris and rebirth. Foliage played a key role, with frankincense and myrrh trees lining the first court,
Egyptian Art: New Kingdom (Amarna period aka Akhetaten’s rule)
Stele of Akhetaten, Nefertiti, and children from Akhetaten (Tell el-Amarna Egypt), 1352-1336 BCE.
Materials: Limestone with painted sunken relief
Significance: Signify the radical changes in visual culture of religion that Akhetaten brought by replacing the god Amun-Ra with the sun god Aten, with Akhetaten the sole intermediary instead of a multitude of dieties. Aten is represented above the royal family with his rays extending out the symbol for eternal life (ankh). This daily scene of the royal family was found in an elite’s home, which could signify the wish of Akhetaten to disseminate his new religious changes.
Egyptian Art: New Kingdom
Inner Coffin of Tutankhamen, from his tomb in the Valley of the Kings, ca. 1327
Material: Gold with colored ceramic and semi-precious stone inlay
Significance: One of the most well-known tombs not because it was all that impressive (it was actually smaller and less opulent than most) but because it was incredibly intact, meaning it hadn’t been looted or destroyed by the elements so it gave a good picture of the funerary practices and contents of the tombs. This inner coffin was within the many layered sarcophogus, and has royal imagery such as the nemes headdress, false beard and flail w/ crook. The wings depicted on the side are protective goddess’s wings and a goddess of the underworld rests in serpent form on his forehead, indicating a connection of royalty and divinity as well as death.
Art of Early East Asia: Shang Culture
Ceremonial Ax (Yue) from the tomb of fu Hao, Anyang, Henan, China ca. 1200 BCE
Material: Bronze
Significance: Symmetry highlighted by twin abstracted tigers seemingly swallowing a naturalistic human head, possibly representation of the function of the ax in ritual decapitation. There is also written language depicting Fu Hao’s (the owner’s) name, which was impressive at this time since written language was reserved for royalty and had ties to divination, ritual, and power.
Art of Early East Asia: Eastern Zhou Period
Rack of Bells from the tomb of Marquis of Yi of Zeng, Suixian, Hubei China. 433 BCE
Material: Laquered wood stands holding Bronze bells
Significance: The wide range of sizes and ways to play each bell leads to the significance of music. Sacred music was used to enact literal harmony to reflect peace in a time of war.
Art of Early East Asia: Qin Dynasty
Terra Cotta Army from the funerary complex of the first emperor of Qin, Shaanxi province China ca. 210 BCE
Significance: The qin dynasty was known for its military prowess with superior organization of both the military and of the cities organization. The army was placed outside of Shihuangdi’s final resting place to act as his army in the afterlife as well as a reminder of his power, strength, and bureaucracy
Cycladic Art:
Figure of a woman from a grave on Syros, Greece, Early Cycladic ca. 2600-2300 BCE
Material: Marble
Significance: Abstracted shape with pointed feet indicate that the figures would have been carried or displayed laying down, and the wide range of locations these figurines were found in indicate that they may have had multiple uses. Originally these would have had painted details, possibly with eyes, hair, and scratches on their arms which could have indicated a symbolic gesture of grieving or an actual ritual carried out.
Cycladic Art: Crete
Snake Goddess from palace at Knossos, Crete, Greece ca. 1600 BCE
Material: Faience (a glassy substance that is formed and fired like ceramic, made by combining crushed quartz, sandstone, or sand with natron or plant ash.)
Significance: Found buried under the floor in repositories next to the throne room, the exact function of these figurines is unknown, though many postulate that she represents a goddess and had some sort of ceremonial purpose seeing as she was found in an area of the palace associated with rituals. The most important thing about these figurines is that they sparked a host off fakes that were produced, sold, and even displayed in museums as authentic ancient artifacts.
Cycladic Art: Crete
Treadore fresco from palace at Knossos, Greece ca. 1400 BCE
Material: Fresco (a wall or ceiling painting on wet plaster (also called true fresco or buon fresco); wet pigment merges with the plaster, and once hardened the painting becomes an integral part of the wall; painting on dry plaster is called fresco secco.)
Significance:
The different skin tones of the figures could indicate the difference between females and males, Different life stages (i.e. before undergoing the right of passage or currently undergoing), or different snapshots in time constituting a single narrative (the man leaping over the bull)
Art of Early South America: Chavin
Lazon Scuplture, Cavin de Hauntar, Peru, ca 900-200 BCE
Material: Stone relief
Significance: This statue would have been displayed deep underground where only a select few were allowed to visit and worship, because of this placement it most likely has ties to the religion of Chavin. Hybrid creature with ear ornaments and skirts suggest human dress but with animalistic features such as the pointed teeth/snout and claws. This mix of human and animal features could show the mixture of supernatural power with humanity.
Art of Early South America: Nasca
Hummingbird, Nasca lines on a deseret plain in Peru, ca. 500 CE
Material: stones were moved to create outline of lighter sand
Significance: Would have only been seen from above, possibly a signal for the gods who resided in the heavens or in the Andes (home of the gods). Also possibly part of a ritual where they would hollow the lines of the designs to lead them to a ceremonial place or to aquifers. Animals/designs could symbolize different things (i.e. spiders and fertility) or even different groups that settled in this area.
Art of Early South America: Moche Culture
Portrait Vessel, Moche Peru, 400-600 CE
Material: Ceramic with slip
Significance: Characteristic Moche style with more naturalistic features and only a couple of colors used. The attention given to individualized features indicates that this may have been a ruler (along with the ceremonial headdress). A Vessel it must have been used for something, possibly some sort of ceremony or libation offering.
Art of Early South America: Moche Culture
Ear Ornament, from Sipan tombs, Peru ca. 300 CE
Material: Gold and Turquoise
Significance: Important parts of funerary rituals, not only found on skeletons of kings, but high relief (more important central figures) depicted mirror the kings that were buried, with ear ornaments, decorated belt, ceremonial ax headdress, ceremonial mace and shield all mirroring what was found in the king’s graves. Attendants on either side in low relief are also mirrored. These suggest the importance of the lords as they were buried with the most lavish offerings, so the graves of important figures were differentiated.
Art of Early Mesoamerica: Olmec Culture
La Venta Throne, Olmec, Mexico, c. 900-400 BCE
Material: Stone
Significance: Correlation with the underworld, as the cave could depict the underworld and the figure emerging could be a god of the underworld. Connects the King (who would have sat atop the throne) to the gods and the underworld. Low relief figures and rope along bottom could symbolize the technology and manpower that went into obtaining, transporting, and carving the stone that was sourced from 50 Miles away. Low relief carving of fanged beast at top could connect to chavin lazon sculpture.
Art of Early America: Teotihuacan
City of Teotihuacan including pyramids of the sun and moon (sun left moon center) with the central street of the dead. pyramids ca. 150-250 CE
Significance: Displayed love of order and geometry with clear city planning. The placing of the pyramid of the moon illustrated a balance with architecture and nature as it was situated in front of a similar looking volcano, which connects to the idea that mountains were typically considered the homes of the gods. Pyramid of the sun indicated sacred underground rooms and would have originally been surrounded by a moat making it appear as if it was emerging from water. Given the order of the city, there does not seem to be a palace or any sense of an organized power.
Art of Classical Greece: Pericles and Athenian Akropolis
Iktinos and Kallikrates Parthenon (temple of athena Parthenos) at the Akropolis in Athens, Greece, ca. 450s BCE
Material: Marble post and lintel that takes into account perspective, doric and ionic elements and proper ratios.
Significance: Went against Greek promise to not rebuild anything the persian empire destroyed (Oath of Plataia) and built with the viewer in mind from a great distance (meant to be seen by those in the town and entering the port as a sign of strength and devotion to the patron god of athens, athena, the goddess of war) Frieze shows procession that would have taken place in honor of athena while Pediments show mythical scenes such as the birth of athena and Metopes show battle mythical scenes (ensured the power and strength of athens was displayed while maintaining devotion to the gods and ensuring it was more likely to last)
Art of Classical Greece: Pericles and Athenian Akropolis (Parthenon)
Metope showing Pheidias and his battle of the Lapiths (Grreks) and centaurs, 447-432 aka 400s BCE)
Material: Marble
Significance: Showed a specific narrative of battle scenes that ocnnected to athena and nike (gods of war and victory) and also alluded to the war with the persian empire (came from east and battled the greeks) although no metopes showed actual historical battle scenes and instead showed mythical scenes. Included the so called greeks victory while also showing centaurs strength to prove that they persevered over a formidable opponent to highlight their strength.
Art of Classical Greece: Pericles and Athenian Akropolis (Parthenon)
Statues from the East Pediment, early to mid 400s BCE
Material: Marble
Significance: Pediments used the all of the provided space without changing the proportions of the figures by including chariots bringing the sun god and moon god signifying dawn and dusk respectively. Figures including gods lounging and reacting present for Athena’s birth fully armored from Zeus’ forehead.
Art of Classical Greece:
Polykleitos of Argus, Doryphoros (spear bearer)
Material: Originally Bronze but most well known is Roman marble copy
Significance: The ideal perfect figure was represented, with the contropossto stance seen with his step, hip tilt, and arms displaying balance. He has an idealized youthful figure. The perfect proportions (Kanon) shows exemplary moral virtue/excellence (aka arete)
