Location: Artist: Date: Culture: Period/Style: Medium/Material: Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
???. 'Namgis Kwakwaka'wakw Transformation Mask Location: British Columbia Artist: Kwakwaka'wakw people Date: c. 1910 C.E. Culture: Kwakwaka'wakw (Native Americans) Period/Style: Native American Art after 1600 (NW Coast) Medium/Material: red cedar wood, leather Theme(s): transformation, ancestry Form: simply and boldly carved; interior face with deep intersecting planes exaggerates the orbs of the eyes, and the mouth and cheeks are further heightened with striking used of color Function: worn by a dancer Content: reworn by dancers during ceremonies, they pull strings to open and move the mask—in effect, animating it; when cords are pulled, the sea monster's face opens up from five "wings" to reveal a face, and giving a effect showing either the sun shining or something growing. After it is transformed, the mask reveals the face of an ancestor. Context: represents an animal ancestor of the Kwakwaka'wakw people, possibly Komokwa, the sea monster Cross Cultural Connection(s): Camelid Sacrum, elephant mask
1. Apollo 11 Stones Location: Namibia Artist: N/A Date: 25,500 - 25,300 B.C.E Culture: (probably) ancient South African Period/Style: Prehistoric, Paleolithic Material/Technique: Charcoal on stone Theme(s): animal representation, records, Form: An animal that looks like a bovine can be seen on the stone. The use of lines and shape are displayed in the entire figure. However, keep in mind that during this time period a limited amount of supplies were available to people. Function: Probably to keep record of what was seen or killed. Content: Figures of animals Context: Found in the Apollo 11 Cave in the Huns Mountains of southwestern Namibia with unusual precision for ancient rock art. The stones are engraved with geometric line designs and representations of animals.
1. Apollo 11 Stones Location: Namibia Artist: N/A Date: 25,500 - 25,300 B.C.E Culture: (probably) ancient South African Period/Style: Prehistoric, Paleolithic Material/Technique: Charcoal on stone Theme(s): animal representation, records, Form: An animal that looks like a bovine can be seen on the stone. The use of lines and shape are displayed in the entire figure. However, keep in mind that during this time period a limited amount of supplies were available to people. Function: Probably to keep record of what was seen or killed. Content: Figures of animals Context: Found in the Apollo 11 Cave in the Huns Mountains of southwestern Namibia with unusual precision for ancient rock art. The stones are engraved with geometric line designs and representations of animals.
2. Great Hall of the Bulls Location: Cave walls near Lascaux, France Artist: N/A Date: 15,000-13,000 B.C.E Culture: (probably) ancient French Period/Style: Prehistoric, Paleolithic Material/Technique: Rock painting; contours to show volume of the animals Theme(s): Hunting, survival, food Form: Color is used to distinguish one animal from another. Lines and shapes are used to show figures of animals. Movement can also be seen in the running bulls. Scale was probably used to bring attention to more important/significant animals. Function: Prehistoric hunters believed that they had control of the animals by painting them on the walls. They also believed the more lifelike the animal was, the more magical power the animal had. Maybe, the art was used to keep record of hunting events and kills. Content: Bulls and other animals running. Context: The painting took place in France, and has to do with hunter-gatherer society, concerns with food, survival, and procreation.
2. Great Hall of the Bulls Location: Cave walls near Lascaux, France Artist: N/A Date: 15,000-13,000 B.C.E Culture: (probably) ancient French Period/Style: Prehistoric, Paleolithic Material/Technique: Rock painting; contours to show volume of the animals Theme(s): Hunting, survival, food Form: Color is used to distinguish one animal from another. Lines and shapes are used to show figures of animals. Movement can also be seen in the running bulls. Scale was probably used to bring attention to more important/significant animals. Function: Prehistoric hunters believed that they had control of the animals by painting them on the walls. They also believed the more lifelike the animal was, the more magical power the animal had. Maybe, the art was used to keep record of hunting events and kills. Content: Bulls and other animals running. Context: The painting took place in France, and has to do with hunter-gatherer society, concerns with food, survival, and procreation.
3. Camelid Sacrum in the shape of a canine Location: Tequixquiac, Central Mexico Artist: N/A Date: 14,000-7,000 B.C.E Culture: (probably) Mesoamerican Period/Style: Prehistoric, Paleolithic Medium/Material: Carved (animal) pelvic bones Theme(s): importance of animals, spirituality Form: Form utilized to show a shape of a canine; shadows. Function: Housed spiritual essence of a hunted animal; ceremonial mask Content: ... Context: Used as a mask, traditionally thought to be simultaneously located in an Otherworld
3. Camelid Sacrum in the shape of a canine Location: Tequixquiac, Central Mexico Artist: N/A Date: 14,000-7,000 B.C.E Culture: (probably) Mesoamerican Period/Style: Prehistoric, Paleolithic Medium/Material: Carved (animal) pelvic bones Theme(s): importance of animals, spirituality Form: Form utilized to show a shape of a canine; shadows. Function: Housed spiritual essence of a hunted animal; ceremonial mask Content: ... Context: Used as a mask, traditionally thought to be simultaneously located in an Otherworld
4. Running Horned Woman Location: Tassili n'Ajjer, Algeria Artist: N/A Date: 6,000-4,000 B.C.E Culture: (probably) ancient North African Period/Style: Prehistoric, Neolithic Medium/Material: Pigment on rock Theme(s): supernatural beings, ceremony/ritual Form: The use of color, shape, lines, scale, and space are utilized to form the Horned Women and her surrounding figures. Movement is evident as she is clearly planting her foot for another long stride. Function: Some scholars have interpreted the woman as a horned deity instead of a human wearing ceremonial headgear. Content: Either a horned deity or a human is running around, probably for a ceremonial or ritualistic purpose. Context: It's made on rock walls and displays varied human and animal activities.
4. Running Horned Woman Location: Tassili n'Ajjer, Algeria Artist: N/A Date: 6,000-4,000 B.C.E Culture: (probably) ancient North African Period/Style: Prehistoric, Neolithic Medium/Material: Pigment on rock Theme(s): supernatural beings, ceremony/ritual Form: The use of color, shape, lines, scale, and space are utilized to form the Horned Women and her surrounding figures. Movement is evident as she is clearly planting her foot for another long stride. Function: Some scholars have interpreted the woman as a horned deity instead of a human wearing ceremonial headgear. Content: Either a horned deity or a human is running around, probably for a ceremonial or ritualistic purpose. Context: It's made on rock walls and displays varied human and animal activities.
5. Bushel with Ibex motifs Location: Susa, Iran Artist: N/A Date: 4,200-3,500 B.C.E Culture: (probably) ancient Middle East Period/Style: Prehistoric, Neolithic Medium/Material: Painted terracotta Theme(s): agriculture, probably growth Form: Color and lines is/are used to create the shapes of animals, clan symbols, etc. Function: It was among the funerary objects of the first inhabitants of Susa. On a secondary burial, the deceased received bushels and other items. Content: Birds, dogs, land settlements, a goat, motif Context: Given to the deceased during a secondary burial
5. Bushel with Ibex motifs Location: Susa, Iran Artist: N/A Date: 4,200-3,500 B.C.E Culture: (probably) ancient Middle East Period/Style: Prehistoric, Neolithic Medium/Material: Painted terracotta Theme(s): agriculture, probably growth Form: Color and lines is/are used to create the shapes of animals, clan symbols, etc. Function: It was among the funerary objects of the first inhabitants of Susa. On a secondary burial, the deceased received bushels and other items. Content: Birds, dogs, land settlements, a goat, motif Context: Given to the deceased during a secondary burial
6. Anthropomorphic Stele Location: Arabian Peninsula Artist: N/A Date: Fourth Millennium B.C.E (c. 4,000 B.C.E) Culture: (probably) ancient Arab Period/Style: Prehistoric, Neolithic Medium/Material: Sandstone Theme(s): ??? Form: Form used to make the figure into a human-like shape with a robe and sword. Function: unknown, but probably used for religious or burial practices Content: Distinctive belted robe and double-bladed sword, held by a human-like figure Context: Some are carved in surrounding sandstone cliffs by many Arabian tombs. Earliest known works of art from the Arabian Peninsula
6. Anthropomorphic Stele Location: Arabian Peninsula Artist: N/A Date: Fourth Millennium B.C.E (c. 4,000 B.C.E) Culture: (probably) ancient Arab Period/Style: Prehistoric, Neolithic Medium/Material: Sandstone Theme(s): ??? Form: Form used to make the figure into a human-like shape with a robe and sword. Function: unknown, but probably used for religious or burial practices Content: Distinctive belted robe and double-bladed sword, held by a human-like figure Context: Some are carved in surrounding sandstone cliffs by many Arabian tombs. Earliest known works of art from the Arabian Peninsula
7. Jade Cong Location: Liangzhu, China Artist: N/A Date: 3,300-2,200 B.C.E Culture: (probably) ancient Chinese Period/Style: Prehistoric, Neolithic Medium/Material: Carved jade Theme(s): spirits, deities Form: Pattern, form, color (choice) Function: unknown Content: ??? Context: The principal decoration on cong of the Liangzhu period was the face pattern, which may refer to spirits or deities
7. Jade Cong Location: Liangzhu, China Artist: N/A Date: 3,300-2,200 B.C.E Culture: (probably) ancient Chinese Period/Style: Prehistoric, Neolithic Medium/Material: Carved jade Theme(s): spirits, deities Form: Pattern, form, color (choice) Function: unknown Content: ??? Context: The principal decoration on cong of the Liangzhu period was the face pattern, which may refer to spirits or deities
8. Stonehenge Location: Wiltshire, UK Artist: N/A Date: 2,500-1,600 B.C.E Culture: (probably) ancient European Period/Style: Prehistoric, Neolithic Medium/Material: Sandstone Theme(s): mathematics, unknown Form: Form, using
8. Stonehenge Location: Wiltshire, UK Artist: N/A Date: 2,500-1,600 B.C.E Culture: (probably) ancient European Period/Style: Prehistoric, Neolithic Medium/Material: Sandstone Theme(s): mathematics, unknown Form: Form, using "post and lintel" structures Function: probably a marker of the midsummer solstice Content: ??? Context: worked within the context of existing archaeological knowledge
9. Ambum Stone Location: Ambum Valley, Enga Provine, Papua New Guinea Artist: N/A Date: c. 1,500 B.C.E Culture: (probably) ancient Oceania Period/Style: Prehistoric, Neolithic Medium/Material: Greywacke Theme(s): Birds, pestle Form: Made out of greywacke, probably to get a rich, brown color to represent the importance of animals. Function: Considered sacred and credited with supernatural powers by present day people of the region. Content: A bird-like figure that sits like a human calmly. Context: It has a higher level of figurative qualities than other pestles and may be in a unique class of its own.
9. Ambum Stone Location: Ambum Valley, Enga Provine, Papua New Guinea Artist: N/A Date: c. 1,500 B.C.E Culture: (probably) ancient Oceania Period/Style: Prehistoric, Neolithic Medium/Material: Greywacke Theme(s): Birds, pestle Form: Made out of greywacke, probably to get a rich, brown color to represent the importance of animals. Function: Considered sacred and credited with supernatural powers by present day people of the region. Content: A bird-like figure that sits like a human calmly. Context: It has a higher level of figurative qualities than other pestles and may be in a unique class of its own.
10. Tlatilco female figurine Location: Central Mexico, site of Tlatilco Artist: N/A Date: 1,200-900 B.C.E Culture: (probably) ancient Mexican Period/Style: Prehistoric, Neolithic Medium/Material: Ceramic and panit Theme(s): fertility, exaggeration, idealism Form: Form used to show physical
10. Tlatilco female figurine Location: Central Mexico, site of Tlatilco Artist: N/A Date: 1,200-900 B.C.E Culture: (probably) ancient Mexican Period/Style: Prehistoric, Neolithic Medium/Material: Ceramic and panit Theme(s): fertility, exaggeration, idealism Form: Form used to show physical "deformities," color to show different body parts Function: suggested they are related to women's roles in regards to nature Content: A nude woman, probably to show the ideal body figure of the time. Context: The figure is completely nude and revealing an exagerrated contrast in proportions. Tlatico figurines show a fascination with physical deformities.
11. Terracotta fragment Location: Lapita Islands, Solomon Islands, Reef Islands Artist: N/A Date: 1,000 B.C.E Culture: (probably) ancient Oceania Period/Style: Prehistoric, Neolithic Medium/Material: incised terracotta Theme(s): storage, ??? Form: Patterns which include faces and figures, and a red, vibrant color Function: piece of pottery used for cooking, serving, and storing Content: Geometric patterns, lines, and shapes. Context: Lapita art is known for ceramics, which have intricate repeating geometric patterns that sometimes include anthropomorphic faces and figures.
11. Terracotta fragment Location: Lapita Islands, Solomon Islands, Reef Islands Artist: N/A Date: 1,000 B.C.E Culture: (probably) ancient Oceania Period/Style: Prehistoric, Neolithic Medium/Material: incised terracotta Theme(s): storage, ??? Form: Patterns which include faces and figures, and a red, vibrant color Function: piece of pottery used for cooking, serving, and storing Content: Geometric patterns, lines, and shapes. Context: Lapita art is known for ceramics, which have intricate repeating geometric patterns that sometimes include anthropomorphic faces and figures.
Terracotta Fragment
12. White Temple and its Ziggurat Location: Uruk (modern-day Warka, Iraq) Artist: N/A Date: c. 3,500-3,000 B.C.E Culture: Sumerian (Mesopotamian) Period/Style: Ancient Near East Medium/Material: Mud brick Theme(s): religion, worship Form: Formed to be a large place of worship. Probably, the color was intended to be a different color from the earth to distinguish it. Function: A temple; a meeting place for gods and humans Content: A sandy-colored temple that is decorated with reliefs, carvings, and other types of designs. Context: Statues for gods and donors were placed inside temples. Dedicated to Inanna (goddess of love and war) and to Anu (sky god)
12. White Temple and its Ziggurat Location: Uruk (modern-day Warka, Iraq) Artist: N/A Date: c. 3,500-3,000 B.C.E Culture: Sumerian (Mesopotamian) Period/Style: Ancient Near East Medium/Material: Mud brick Theme(s): religion, worship Form: Formed to be a large place of worship. Probably, the color was intended to be a different color from the earth to distinguish it. Function: A temple; a meeting place for gods and humans Content: A sandy-colored temple that is decorated with reliefs, carvings, and other types of designs. Context: Statues for gods and donors were placed inside temples. Dedicated to Inanna (goddess of love and war) and to Anu (sky god)
13. Palette of King Narmer Location: Nekhen, Egypt Artist: N/A Date: c. 3,000-2,920 B.C.E Culture: Predynastic Egypt Period: Ancient Egypt Medium/Material: Greywacke Theme(s): weaponry, leadeship, Form: Form and shape used to create the structure of the actual palette as well as the designs on both the front and back. Hierarchy of scale seen. Function: A votive or gift offering by the King to his
13. Palette of King Narmer Location: Nekhen, Egypt Artist: N/A Date: c. 3,000-2,920 B.C.E Culture: Predynastic Egypt Period: Ancient Egypt Medium/Material: Greywacke Theme(s): weaponry, leadeship, Form: Form and shape used to create the structure of the actual palette as well as the designs on both the front and back. Hierarchy of scale seen. Function: A votive or gift offering by the King to his "father", the god Amon-ra. Content: On the back: a bird on the top right, figures under and behind the main person. On the front: a narrative seen, probably about hunting and conquest. Context: Believed to be found in the Predynastic capital of Upper Egypt.
14. Statues of votive figures Location: Square Temple at Esnunna, Mesopotamia (modern-day Tell Asmar, Iraq) Artist: N/A Date: c. 2,700 B.C.E Culture: Sumerian Period/Style: Ancient Near East Medium/Material: Gypsum inlaid with shell and black limestone Theme(s): pessimistic, offerings, anxiety Form: statues are shaped and designed using form, shape, lines, value, and color. Function: Surrogate for donor (figures are not deities) offering constant prayer to deity with arms clasped reverentially, in supplication, awe. Content: Tall, disproportionate figures that look worried. Context: Placed in temples precincts (
14. Statues of votive figures Location: Square Temple at Esnunna, Mesopotamia (modern-day Tell Asmar, Iraq) Artist: N/A Date: c. 2,700 B.C.E Culture: Sumerian Period/Style: Ancient Near East Medium/Material: Gypsum inlaid with shell and black limestone Theme(s): pessimistic, offerings, anxiety Form: statues are shaped and designed using form, shape, lines, value, and color. Function: Surrogate for donor (figures are not deities) offering constant prayer to deity with arms clasped reverentially, in supplication, awe. Content: Tall, disproportionate figures that look worried. Context: Placed in temples precincts ("waiting rooms") facing altar or statue of god appearance of figures relates to anxiety of after life.
15. Seated scribe Location: Saqqara, Egypt Artist: N/A Date: c. 2,650-2,500 B.C.E Culture: Egyptian Period/Style: Ancient Egypt: Old Kingdom, Fourth Dynasty Medium/Material: Painted limestone (opt. rock crystals, magnesia, and copper/arsenic) Theme(s): writing, work, afterlife Form: Color and shape used to define bodily features and writing Function: To represent a scribe for the interior of a tomb Content: A male figure with black hair writing, probably for a job. Context: Placed inside tombs. Represents a scribe at work. Is meant for the afterlife.
15. Seated scribe Location: Saqqara, Egypt Artist: N/A Date: c. 2,650-2,500 B.C.E Culture: Egyptian Period/Style: Ancient Egypt: Old Kingdom, Fourth Dynasty Medium/Material: Painted limestone (opt. rock crystals, magnesia, and copper/arsenic) Theme(s): writing, work, afterlife Form: Color and shape used to define bodily features and writing Function: To represent a scribe for the interior of a tomb Content: A male figure with black hair writing, probably for a job. Context: Placed inside tombs. Represents a scribe at work. Is meant for the afterlife.
16. Standard of Ur Location: Royal Tombs at Ur (modern-day Tell el-Muqayyar, Iraq Artist: N/A Date: 2,600-2,400 B.C.E Culture: Sumerian Period/Style: Ancient Near East Medium/Material: Wood inlaid with shells, lapis lazuli, and red limestone Theme(s): war, peace, migration Form: A trapezoidal prism that uses color, lines, and shape to show and describe times of peace conflict. Function: likely to have been the sound box for a musical instrument. Content: The war side shows representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes, others are paraded naked and presented to the king who holds a spear. The peace panel shows animals, fish and other goods brought in procession to a banquet. Context: found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above a soldier who is believed to have carried it on a long pole as a standard, the royal emblem of a king.
16. Standard of Ur Location: Royal Tombs at Ur (modern-day Tell el-Muqayyar, Iraq Artist: N/A Date: 2,600-2,400 B.C.E Culture: Sumerian Period/Style: Ancient Near East Medium/Material: Wood inlaid with shells, lapis lazuli, and red limestone Theme(s): war, peace, migration Form: A trapezoidal prism that uses color, lines, and shape to show and describe times of peace conflict. Function: likely to have been the sound box for a musical instrument. Content: The war side shows representations of a Sumerian army. Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes, others are paraded naked and presented to the king who holds a spear. The peace panel shows animals, fish and other goods brought in procession to a banquet. Context: found in one of the largest graves in the Royal Cemetery at Ur, lying in the corner of a chamber above a soldier who is believed to have carried it on a long pole as a standard, the royal emblem of a king.
17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx Location: Giza, Egypt Artist: Egyptians Date: c. 2,550-2,490 B.C.E Culture: Ancient Egypt Period/Style: Old Kingdom, Fourth Dynasty Medium/Material: Cut limestone Theme(s): ceremonies & burial Form: pyramid figures and underground labyrinths Function: tombs for pharaohs Content: Enormous pyramids with paths to underground passageways and tombs. The Great Sphinx shows a being with a cat body and human head/face. Context: The Great Sphinx is believed to be the most immense stone sculpture ever made by man.
17. Great Pyramids (Menkaura, Khafre, Khufu) and Great Sphinx Location: Giza, Egypt Artist: Egyptians Date: c. 2,550-2,490 B.C.E Culture: Ancient Egypt Period/Style: Old Kingdom, Fourth Dynasty Medium/Material: Cut limestone Theme(s): ceremonies & burial Form: pyramid figures and underground labyrinths Function: tombs for pharaohs Content: Enormous pyramids with paths to underground passageways and tombs. The Great Sphinx shows a being with a cat body and human head/face. Context: The Great Sphinx is believed to be the most immense stone sculpture ever made by man.
18. King Menkaura and queen Location: Old Kingdom, Fourth Dynasty Artist: N/A Date: c. 2,490-2,472 B.C.E Culture: Egyptian Period/Style: Ancient Egypt Medium/Material: Greywacke Theme(s): Hierarchy of scale, leadership Form: Form, shape, scale, and space are used to form and differentiate the two people Function: to be put in tombs Content: King seen taking a step forward and his queen accompanying him or holding him back. Context: Found in a hole dug earlier by treasure-hunters below the floor of a room in the Valley Temple of the pyramid of Menkaure at Giza.
18. King Menkaura and queen Location: Old Kingdom, Fourth Dynasty Artist: N/A Date: c. 2,490-2,472 B.C.E Culture: Egyptian Period/Style: Ancient Egypt Medium/Material: Greywacke Theme(s): Hierarchy of scale, leadership Form: Form, shape, scale, and space are used to form and differentiate the two people Function: to be put in tombs Content: King seen taking a step forward and his queen accompanying him or holding him back. Context: Found in a hole dug earlier by treasure-hunters below the floor of a room in the Valley Temple of the pyramid of Menkaure at Giza.
19. The Code of Hammurabi Location: Babylon (modern-day Iran) Artist: Hammurabi Date: c. 1,792-1,750 B.C.E Culture: Susian Period/Style: Ancient Near East Medium/Material: words/symbols carved into 8ft. basalt Theme(s): law, inscriptions, rule Form: Tall structure with an example of scale on top. The being with greater power is shown as sitting while at the same time being the same height as Hammurabi. Function: a system of Babylonian laws, also the first Content: Inscriptions describing the rules and regulations of Hammurabi Context: In this stone is carved with around 300 laws, the first know set of ruler enforced laws.
19. The Code of Hammurabi Location: Babylon (modern-day Iran) Artist: Hammurabi Date: c. 1,792-1,750 B.C.E Culture: Susian Period/Style: Ancient Near East Medium/Material: words/symbols carved into 8ft. basalt Theme(s): law, inscriptions, rule Form: Tall structure with an example of scale on top. The being with greater power is shown as sitting while at the same time being the same height as Hammurabi. Function: a system of Babylonian laws, also the first Content: Inscriptions describing the rules and regulations of Hammurabi Context: In this stone is carved with around 300 laws, the first know set of ruler enforced laws.
20. Temple of Amun-Re and Hypostyle Hall Location: Karnak, near Luxor, Egypt Artist: N/A Date: Temple: c. 1550 B.C.E.; Hall: c. 1250 B.C.E Culture: Egyptian Period/Style: Ancient Egypt Medium/Material: Cut sandstone and mud brick Theme(s): religion Form: A spacious temple with many columns in one room to hold up a ceiling. The walls are shaped to probably stand strong against weather. The Hypostyle Hall is two rows of columns that probably held a roof on top. Function: A major portion of the temple was for the god, Amun-Re Content: Many pillars, however now destroyed. The walls was very fortified and well-structured. Context: Represented a marsh in the begining of time, only Pharaoh and priests were allowed for religious practices
20. Temple of Amun-Re and Hypostyle Hall Location: Karnak, near Luxor, Egypt Artist: N/A Date: Temple: c. 1550 B.C.E.; Hall: c. 1250 B.C.E Culture: Egyptian Period/Style: Ancient Egypt Medium/Material: Cut sandstone and mud brick Theme(s): religion Form: A spacious temple with many columns in one room to hold up a ceiling. The walls are shaped to probably stand strong against weather. The Hypostyle Hall is two rows of columns that probably held a roof on top. Function: A major portion of the temple was for the god, Amun-Re Content: Many pillars, however now destroyed. The walls was very fortified and well-structured. Context: Represented a marsh in the begining of time, only Pharaoh and priests were allowed for religious practices
21. Mortuary temple of Hatshepsut Location: Near Luxor, Egypt Artist: Senmut Date: c. 1473-1458 B.C.E. Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Sandstone, partially carved into a rock cliff, and red granite Theme(s): royalty, achievement Form: Temple: Space and form to create a opening inside. Statue: The way the body is made brings attention to the head and face. The form and value acts as a gradient from bottom to top. Function: Funerary temple for the queen of the time Content: Context: Built for the queen to commemorate her achievements and act as a mortuary for her and a sanctuary for the god Amun-ra
21. Mortuary temple of Hatshepsut Location: Near Luxor, Egypt Artist: Senmut Date: c. 1473-1458 B.C.E. Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Sandstone, partially carved into a rock cliff, and red granite Theme(s): royalty, achievement Form: Temple: Space and form to create a opening inside. Statue: The way the body is made brings attention to the head and face. The form and value acts as a gradient from bottom to top. Function: Funerary temple for the queen of the time Content: Context: Built for the queen to commemorate her achievements and act as a mortuary for her and a sanctuary for the god Amun-ra
22. Akhenaton, Nefertiti, and three daughters Location: New Kingdom, 18th Dynasty Artist: N/A Date: c. 1353-1335 B.C.E. Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Limestone Theme(s): religion Form: Shape, line, and value used to form the figures and their surroundings. Function: Depict Akhenaten and his wife and their relation to the new god, Aten Content: Lines at the top point either to Akhenaten and his wife or to the circular shape in the top middle Context: A piece that would be in someone's home home, not in a public place, depicting relation between the ruler and the god
22. Akhenaton, Nefertiti, and three daughters Location: New Kingdom, 18th Dynasty Artist: N/A Date: c. 1353-1335 B.C.E. Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Limestone Theme(s): religion Form: Shape, line, and value used to form the figures and their surroundings. Function: Depict Akhenaten and his wife and their relation to the new god, Aten Content: Lines at the top point either to Akhenaten and his wife or to the circular shape in the top middle Context: A piece that would be in someone's home home, not in a public place, depicting relation between the ruler and the god
23. Tutankhamun's tomb, innermost coffin Location: New Kingdom Artist: N/A Date: c.. 1323 B.C.E Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Gold with inlay of enamel and semiprecious stones Theme(s): afterlife Form: formed to be the shape of Tutankhamun's body Function: Coffin for King Tutankhamun Content: A magnificent golden coffin with colored patterns Context: Coffin within the king's tomb, helf his mummified body
23. Tutankhamun's tomb, innermost coffin Location: New Kingdom Artist: N/A Date: c.. 1323 B.C.E Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Gold with inlay of enamel and semiprecious stones Theme(s): afterlife Form: formed to be the shape of Tutankhamun's body Function: Coffin for King Tutankhamun Content: A magnificent golden coffin with colored patterns Context: Coffin within the king's tomb, helf his mummified body
24. Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead) Location: New Kingdom, 19th Dynasty Artist: N/A Date: c. 1275 B.C.E Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Painted papyrus scroll Theme(s): judgment, ethics Form: Colors, line, and shape illustrate the narrative. Scale/hierarchy of scale is demonstrated. Function: to depict Hu-Nefer's last judgment Content: 3
24. Last judgment of Hu-Nefer, from his tomb (page from the Book of the Dead) Location: New Kingdom, 19th Dynasty Artist: N/A Date: c. 1275 B.C.E Culture: Egyptian Period/Style: Ancient Egyptian Medium/Material: Painted papyrus scroll Theme(s): judgment, ethics Form: Colors, line, and shape illustrate the narrative. Scale/hierarchy of scale is demonstrated. Function: to depict Hu-Nefer's last judgment Content: 3 "story parts." The religious/political leader is probably concealed within the square box towards the right. A scene involving religious activity is seen at the top, and the actual judging is on the bottom right. Context: The judgment of whether or not Hu-Nefer has lived an ethical life, if he has not, he will be devoured by mythical creatures that are a medley of different animals.
25. Lamassu from the citadel of Sargon II Location: Dur Sharrukin (modern-day Khorsabad, Iraq) Artist: N/A Date: c. 720-705 B.C.E. Culture: Neo-Assyrian Period/Style: Ancient Near East Medium/Material: Alabaster Theme(s): guardian, dominance Form: Form and color to show the size and features of each Lamassu. Function: Protect and support important doorways in Assyrian palaces Content: Detailed heads and long beards. from the side, 4 legs; from the front, 2 legs. Winged and bull/horse hoofs. Context: Used as a form of intimidating protection of palaces in Assyria
25. Lamassu from the citadel of Sargon II Location: Dur Sharrukin (modern-day Khorsabad, Iraq) Artist: N/A Date: c. 720-705 B.C.E. Culture: Neo-Assyrian Period/Style: Ancient Near East Medium/Material: Alabaster Theme(s): guardian, dominance Form: Form and color to show the size and features of each Lamassu. Function: Protect and support important doorways in Assyrian palaces Content: Detailed heads and long beards. from the side, 4 legs; from the front, 2 legs. Winged and bull/horse hoofs. Context: Used as a form of intimidating protection of palaces in Assyria
26. Athenian agora Location: modern-day Athens, Greece Artist: N/A Date: 600 B.C.E.-150 C.E. Culture: Greek Period/Style: Ancient Greece Medium/Material: Plan Theme(s): market, civic center Form: ??? Function: ??? Content: Shaded lines, probably paths, and darker lines are seen. A mound of curved lines are seen on the left with what seems to be a temple on top. Context: ???
26. Athenian agora Location: modern-day Athens, Greece Artist: N/A Date: 600 B.C.E.-150 C.E. Culture: Greek Period/Style: Ancient Greece Medium/Material: Plan Theme(s): market, civic center Form: ??? Function: ??? Content: Shaded lines, probably paths, and darker lines are seen. A mound of curved lines are seen on the left with what seems to be a temple on top. Context: ???
27. Anavysos Kouros Location: Greece Artist: N/A Date: c. 530 B.C.E. Culture: Archaic Greek Period/Style: Ancient Greece Medium/Material: Marble with remnants of paint Theme(s): gravestone Form: Form, lines, and shape are used to define bodily features like hair and muscles. Function: Grave markers or offering to a god Content: Male with its left foot forward, knees locked, braided hair with head band, and smile. Context: found by a youth's grave who died in battle
27. Anavysos Kouros Location: Greece Artist: N/A Date: c. 530 B.C.E. Culture: Archaic Greek Period/Style: Ancient Greece Medium/Material: Marble with remnants of paint Theme(s): gravestone Form: Form, lines, and shape are used to define bodily features like hair and muscles. Function: Grave markers or offering to a god Content: Male with its left foot forward, knees locked, braided hair with head band, and smile. Context: found by a youth's grave who died in battle
28. Peplos Kore Location: Acropolis, Greece Artist: N/A Date: c. 530 B.C.E Culture: Archaic Greek Period/Style: Ancient Greece Medium/Material: Marble, painted details Theme(s): offering Form: Line, color and shape define Kore's bodily features. Function: offering of a goddess Content: arm straight out, thought to be carring something, holes in head thought to be wearing a metal crown, paint visible in speaial lighting on the dress, archaic smile Context: thought to be an offering to Athena, but it was later discovered to be a statue of Artemis or Athena
28. Peplos Kore Location: Acropolis, Greece Artist: N/A Date: c. 530 B.C.E Culture: Archaic Greek Period/Style: Ancient Greece Medium/Material: Marble, painted details Theme(s): offering Form: Line, color and shape define Kore's bodily features. Function: offering of a goddess Content: arm straight out, thought to be carring something, holes in head thought to be wearing a metal crown, paint visible in speaial lighting on the dress, archaic smile Context: thought to be an offering to Athena, but it was later discovered to be a statue of Artemis or Athena
29. Sarcophagus of the Spouses Location: Cerverteri, Italy Artist: N/A Date: c. 520 B.C.E. Culture: Etruscan Period/Style: Archaic period Medium/Material: terracotta Theme(s): freedom, death Form: shape, form, and value add up to each other to allow for lighting differences. Function: Sarcoughagus containing the ashes of the deceased; funerary monument Content: Detail in hair color; portrayed women's relative freedom in Etruscan society; terracotta, funerary monument, sarcophagus, gender relations/ gender roles, expressive figures, unrealistic proportions Context: The couple are lounging on a banquet couch for what might be a funeral banquent for the dead.
29. Sarcophagus of the Spouses Location: Cerverteri, Italy Artist: N/A Date: c. 520 B.C.E. Culture: Etruscan Period/Style: Archaic period Medium/Material: terracotta Theme(s): freedom, death Form: shape, form, and value add up to each other to allow for lighting differences. Function: Sarcoughagus containing the ashes of the deceased; funerary monument Content: Detail in hair color; portrayed women's relative freedom in Etruscan society; terracotta, funerary monument, sarcophagus, gender relations/ gender roles, expressive figures, unrealistic proportions Context: The couple are lounging on a banquet couch for what might be a funeral banquent for the dead.
30. Audience Hall (apadana) of Darius and Xerxes Location: Persepolis in Susa, Iran Artist: N/A Date: c. 520-465 B.C.E Culture: Persian Period/Style: Etruscan Medium/Material: Limestone Theme(s): entertainment, ceremony, ritual Form: Many pillars (now fallen) that have/had bulls on top. Function: to receive people from other lands Content: ... Context: ...
30. Audience Hall (apadana) of Darius and Xerxes Location: Persepolis in Susa, Iran Artist: N/A Date: c. 520-465 B.C.E Culture: Persian Period/Style: Etruscan Medium/Material: Limestone Theme(s): entertainment, ceremony, ritual Form: Many pillars (now fallen) that have/had bulls on top. Function: to receive people from other lands Content: ... Context: ...
31. Temple of Minerva (plan) and sculpture of Apollo Location: The roof of the Portonaccio temple, Veii, Italy, near Rome, Italy Artist: Master sculptor Vulca; Patron: Etruscan king of Rome, Tarquinius Superbus Date: c. 510-500 B.C.E. Culture: Etruscan Period/Style: Archaic Greece Medium/Material: Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture Theme(s): Form: Function: (sculpture) Temple rooftop statue Content: Figure is energetic and excited; movement; terra cotta, statuary, mythology Context: The statue is part of a group of at least four other painted terracotta figures that adorned the temple roof. They depicted one of the twelve labors of Hercules. The bright paint and the style of drapery are reminiscent of Archaic korai, but the figure's vigorous motion, gesticulating arms, animated face, and overall energy and excitement are distinctly Etruscan.
31. Temple of Minerva (plan) and sculpture of Apollo Location: The roof of the Portonaccio temple, Veii, Italy, near Rome, Italy Artist: Master sculptor Vulca; Patron: Etruscan king of Rome, Tarquinius Superbus Date: c. 510-500 B.C.E. Culture: Etruscan Period/Style: Archaic Greece Medium/Material: Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture Theme(s): Form: Function: (sculpture) Temple rooftop statue Content: Figure is energetic and excited; movement; terra cotta, statuary, mythology Context: The statue is part of a group of at least four other painted terracotta figures that adorned the temple roof. They depicted one of the twelve labors of Hercules. The bright paint and the style of drapery are reminiscent of Archaic korai, but the figure's vigorous motion, gesticulating arms, animated face, and overall energy and excitement are distinctly Etruscan.
32. Tomb of the Triclinium Location: Tarquinia, Italy Artist: N/A Date: c. 480-470 B.C.E. Culture: Etruscan Period/Style: Medium/Material: Tufa and fresco Theme(s): Form: Function: Content: Context:
32. Tomb of the Triclinium Location: Tarquinia, Italy Artist: N/A Date: c. 480-470 B.C.E. Culture: Etruscan Period/Style: Medium/Material: Tufa and fresco Theme(s): Form: Function: Content: Context:
33. Niobedes Krater Location: Unknown; Museum of Louvre, Paris Artist: Niobid Painter Date: c. 460-450 B.C.E. Culture: Period/Style: Classical Greece Medium/Material: Clay, red-figure technique (white highlights) Theme(s): war, mythology Form: Color distinguishes war participants and an attempt at space/scale was made to show distance Function: vase; worshipping Content: An attempt at three dimensions, space, perspective, etc. and red-figure style Context: The engraved figures are the Greek Gods Apollo and Artemis killing the children of Niome. Generally accepted it is the Gathering of Argonauts or Polynotos of Thasos.
33. Niobedes Krater Location: Unknown; Museum of Louvre, Paris Artist: Niobid Painter Date: c. 460-450 B.C.E. Culture: Period/Style: Classical Greece Medium/Material: Clay, red-figure technique (white highlights) Theme(s): war, mythology Form: Color distinguishes war participants and an attempt at space/scale was made to show distance Function: vase; worshipping Content: An attempt at three dimensions, space, perspective, etc. and red-figure style Context: The engraved figures are the Greek Gods Apollo and Artemis killing the children of Niome. Generally accepted it is the Gathering of Argonauts or Polynotos of Thasos.
34. Doryphoros (Spear Bearer) Location: Herculaneum Artist: Polykleitos Date: 450-440 B.C.E. Culture: Period/Style: Greek; Classical realism; contrapposto Medium/Material: Roman copy: marble; Greek original: bronze Theme(s): Form: Form, to give a three-dimensional feel; to create shadows Function: Depiction of the (ideal) human body Content: Contrapposto, realism, muscular, iconic, balanced portions of the human body Context:
34. Doryphoros (Spear Bearer) Location: Herculaneum Artist: Polykleitos Date: 450-440 B.C.E. Culture: Period/Style: Greek; Classical realism; contrapposto Medium/Material: Roman copy: marble; Greek original: bronze Theme(s): Form: Form, to give a three-dimensional feel; to create shadows Function: Depiction of the (ideal) human body Content: Contrapposto, realism, muscular, iconic, balanced portions of the human body Context:
35. Acropolis, Parthenon, Helios, horses, and Dionysus (Heracles?), Temple of Athena Nike, Victory adjusting her sandal, and Plaque of the Ergastines Location: Athens, Greece Artist: Iktinos and Kallikrates (architects); Phidias (sculptor); Patron: Greek government Date: c. 447-424 B.C.E. (Acropolis), 447-438 BCE (Parthenon) Culture: Greek Period/Style: Greek Medium/Material: Marble, stone, used mathematics Theme(s): Form: Function: (Parthenon) Architecture, to house the gods and to be a treasury Content: Large(228ft by 101ft); columns, religious Context: (Parthenon) Dedicated to the God Athena, symbol of Athenian democracy and western civilization
35. Acropolis, Parthenon, Helios, horses, and Dionysus (Heracles?), Temple of Athena Nike, Victory adjusting her sandal, and Plaque of the Ergastines Location: Athens, Greece Artist: Iktinos and Kallikrates (architects); Phidias (sculptor); Patron: Greek government Date: c. 447-424 B.C.E. (Acropolis), 447-438 BCE (Parthenon) Culture: Greek Period/Style: Greek Medium/Material: Marble, stone, used mathematics Theme(s): Form: Function: (Parthenon) Architecture, to house the gods and to be a treasury Content: Large(228ft by 101ft); columns, religious Context: (Parthenon) Dedicated to the God Athena, symbol of Athenian democracy and western civilization
36. Grave stele of Hegeso Location: Kerameikos; National Archeological Museum, Athens Artist: attributed to Kallimachos Date: c. 410 B.C.E. Culture: Period/Style: Greek Medium/Material: Pentelic (from Mount Pentelicus) marble and paint Theme(s): Form: Relief Function: A grave stone honoring the dead Content: damaged/broken off on the Hegeso's head Context: It is a grave Stelae, and the deceased is Hegeso, the daughter of Proxenos
36. Grave stele of Hegeso Location: Kerameikos; National Archeological Museum, Athens Artist: attributed to Kallimachos Date: c. 410 B.C.E. Culture: Period/Style: Greek Medium/Material: Pentelic (from Mount Pentelicus) marble and paint Theme(s): Form: Relief Function: A grave stone honoring the dead Content: damaged/broken off on the Hegeso's head Context: It is a grave Stelae, and the deceased is Hegeso, the daughter of Proxenos
37. Winged Victory of Samothrace Location: Samothrace, Greece Artist: Date: c. 190 B.C.E. Culture: Period/Style: Hellenistic/Ancient Greek Medium/Material: Marble Theme(s): Form: Function: naval victory Content: humanistic culture, polytheism, wings, Goddess Context: It is the Greek goddess Nike, and it was made not only to honor her, but a sea battle.
37. Winged Victory of Samothrace Location: Samothrace, Greece Artist: Date: c. 190 B.C.E. Culture: Period/Style: Hellenistic/Ancient Greek Medium/Material: Marble Theme(s): Form: Function: naval victory Content: humanistic culture, polytheism, wings, Goddess Context: It is the Greek goddess Nike, and it was made not only to honor her, but a sea battle.
38. Great Altar of Zeus and Athena at Pergamon, Great Altar of Zeus and Athena, Athena, Great Altar of Zeus and Athena plan Location: Asia Minor (modern Turkey) Artist: King Eumenes III Date: c. 175 B.C.E. Culture: Period/Style: Hellenistic Greek Medium/Material: Marble Theme(s): Form: large, deep relief Function: worship Content: Shows the battle between the Olympian Gods and the Giants, and depicts the life of Telephus Context:
38. Great Altar of Zeus and Athena at Pergamon, Great Altar of Zeus and Athena, Athena, Great Altar of Zeus and Athena plan Location: Asia Minor (modern Turkey) Artist: King Eumenes III Date: c. 175 B.C.E. Culture: Period/Style: Hellenistic Greek Medium/Material: Marble Theme(s): Form: large, deep relief Function: worship Content: Shows the battle between the Olympian Gods and the Giants, and depicts the life of Telephus Context:
39. House of the Vettii Plan, Frescoes, Atrium Location: Pompeii, Italy Artist: N/A Date: c. second century; rebuilt c. 62-79 Culture: Roman Period/Style: Imperial Roman Medium/Material: Cut stone and fresco Theme(s): rituals, entertainment, government Form: Domus architecture, form, vibrantly colored interior Function: atrium where daily rituals and power are displayed (social hierarchy) Content: axial symmetry, atrium (large reception area),
39. House of the Vettii Plan, Frescoes, Atrium Location: Pompeii, Italy Artist: N/A Date: c. second century; rebuilt c. 62-79 Culture: Roman Period/Style: Imperial Roman Medium/Material: Cut stone and fresco Theme(s): rituals, entertainment, government Form: Domus architecture, form, vibrantly colored interior Function: atrium where daily rituals and power are displayed (social hierarchy) Content: axial symmetry, atrium (large reception area), "peristyle" garden Context: named after Aulus Vettius Conviva and Restitutus.
40. Alexander Mosaic Location: House of Faun, Pompeii Artist: N/A | Patron: Pompeian citizen Date: c. 100 B.C.E. Culture: Roman Period/Style: Greek Medium/Material: Mosaic Theme(s): war, conflict Form: perspective/space to show different figures and their spot in the mosaic Function: to decorate the
40. Alexander Mosaic Location: House of Faun, Pompeii Artist: N/A | Patron: Pompeian citizen Date: c. 100 B.C.E. Culture: Roman Period/Style: Greek Medium/Material: Mosaic Theme(s): war, conflict Form: perspective/space to show different figures and their spot in the mosaic Function: to decorate the "House of Faun" Content: Alexander the Great is in the left shown as a young and brave man; King Darius Context:
41. Seated Boxer Location: buried under the Quirinial - one of the seven hills of Rome Artist: N/A Date: c. 100 Culture: ? Period/Style: Hellenistic Greek (towards end of Greek period) Medium/Material: Bronze, some copper Theme(s): defeat, pain Form: copper was worked into the bronze to appear to be wounds Function: depiction of an actual athlete from the time, or decorative Content: heavily battered, defeated veteran whose upward glance may have been looking at his enemy Context: Most Greek statues depicted ideal human forms (young, beautiful athletes); religious connections Cross Cultural Connection(s):
41. Seated Boxer Location: buried under the Quirinial - one of the seven hills of Rome Artist: N/A Date: c. 100 Culture: ? Period/Style: Hellenistic Greek (towards end of Greek period) Medium/Material: Bronze, some copper Theme(s): defeat, pain Form: copper was worked into the bronze to appear to be wounds Function: depiction of an actual athlete from the time, or decorative Content: heavily battered, defeated veteran whose upward glance may have been looking at his enemy Context: Most Greek statues depicted ideal human forms (young, beautiful athletes); religious connections Cross Cultural Connection(s):
42. Head of a Roman Patrician Location: Rome, Italy Patron: Roman Patrician Date: c. 75-50 B.C.E. Culture: ? Period/Style: Republican Roman Medium/Material: marble Theme(s): Politics Form: carved to show an
42. Head of a Roman Patrician Location: Rome, Italy Patron: Roman Patrician Date: c. 75-50 B.C.E. Culture: ? Period/Style: Republican Roman Medium/Material: marble Theme(s): Politics Form: carved to show an "older" patrician to represent knowledge and experience Function: to depict an important citizen; propaganda/ political art Content: ... Context: Idealized portrayal of a patrician; shows dignity of age (ideal for politicians of the time due to wisdom, experience, etc.) Cross Cultural Connection(s):
43. Augustus of Primaporta Location: private residence in Rome Patron: Tiberius Caesar Date: 20 C.E. Culture: ... Period/Style: The Early Empire/Roman Art Medium/Material: marble Theme(s): politics, achievement Form: Function: Commemorative monument. A vehicle of political propaganda Content: Context: advertised Augustus
43. Augustus of Primaporta Location: private residence in Rome Patron: Tiberius Caesar Date: 20 C.E. Culture: ... Period/Style: The Early Empire/Roman Art Medium/Material: marble Theme(s): politics, achievement Form: Function: Commemorative monument. A vehicle of political propaganda Content: Context: advertised Augustus "perfect" qualities. Depicts the emperor in his role as general Cross Cultural Connection(s): Polykleitos's Spear Bearer
44. Colosseum Location: Rome, Italy Artist: Titus dedicated it to Vespasian Date: c. 70-80 B.C.E. Culture: Period/Style: Imperial Roman Medium/Material: stone and concrete Theme(s): entertainment, battle Form: Function: home to entertainment; 100 days of games like animal fights and gladiatorial battles, then, after years of neglect, it was
44. Colosseum Location: Rome, Italy Artist: Titus dedicated it to Vespasian Date: c. 70-80 B.C.E. Culture: Period/Style: Imperial Roman Medium/Material: stone and concrete Theme(s): entertainment, battle Form: Function: home to entertainment; 100 days of games like animal fights and gladiatorial battles, then, after years of neglect, it was "salvaged" for materials in the 18th century Content: columns, doric, ionic, corinthian, concrete, stone, entertainment Context: Could hold between 50,000 and 80,000 spectators which were organized by social ranking, largest ampitheater in the Roman Worlds, freestanding unlike most other ampitheaters which were built into hillsides, included doric, ionic, and corinthian orders Cross Cultural Connection(s):
45. Trajan's Market Location: Rome, Italy Artist: Apollodorus of Damascus; Patron: Emperor Trajan Date: 106-112 C.E. Culture: Period/Style: Ancient Rome Medium/Material: Theme(s): Form: Function: Column: to celebrate Emperor Trajan in honor of his victory over Dacia Market: a collection of warehouse and shops where Romans could conduct business and purchase goods Content: Context: Political art that celebrated rulers, carved into the side of a hill Cross Cultural Connection(s):
45. Trajan's Market Location: Rome, Italy Artist: Apollodorus of Damascus; Patron: Emperor Trajan Date: 106-112 C.E. Culture: Period/Style: Ancient Rome Medium/Material: Theme(s): Form: Function: Column: to celebrate Emperor Trajan in honor of his victory over Dacia Market: a collection of warehouse and shops where Romans could conduct business and purchase goods Content: Context: Political art that celebrated rulers, carved into the side of a hill Cross Cultural Connection(s):
46. Pantheon Location: Rome, Italy Artist: N/A Date: 125 C.E. Culture: Period/Style: High Empire/Roman Art Medium/Material: Concrete, stone facing Theme(s): Form: Function: temple, then church; temple for all of the gods. Content: Context: temple that was repurposed throughout the years; Work on the Pantheon started immediately after Hadrian became emperor; dome's summit is the same distance from the floor as the diameter of the dome (142 feet); interior space can be imagined as
46. Pantheon Location: Rome, Italy Artist: N/A Date: 125 C.E. Culture: Period/Style: High Empire/Roman Art Medium/Material: Concrete, stone facing Theme(s): Form: Function: temple, then church; temple for all of the gods. Content: Context: temple that was repurposed throughout the years; Work on the Pantheon started immediately after Hadrian became emperor; dome's summit is the same distance from the floor as the diameter of the dome (142 feet); interior space can be imagined as "the orb of the earth;" dome was meant to be imagined as the vault of the heavens. Cross Cultural Connection(s):
47. Ludovisi Battle Sarcophagus Location: Near Porta Turbatina Artist: N/A Date: c. 250-260 C.E. Culture: Period/Style: Late Imperial Roman Medium/Material: Theme(s): war,
47. Ludovisi Battle Sarcophagus Location: Near Porta Turbatina Artist: N/A Date: c. 250-260 C.E. Culture: Period/Style: Late Imperial Roman Medium/Material: Theme(s): war, "reflection" Form: Rectangular, completely covered in relief, rejection of classical traditions Function: used as a tomb (bury people in) Content: Relief sculpture, figures are crammed together in contrast to the Roman convention of having open space around figures, anti-classical, military heroes, master carving Context: A memorial to the wars between the Ostrogoths and Imperial Romans then taking place Cross Cultural Connection(s):
48a. Catacomb of Priscilla (Chapel) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): ... Form: Three niches for sarcophagi. Decorated with paintings in the Pompeian style; sketchy painterly brushstrokes. Function: Contains the tombs of seven popes and many early Christian martyrs. Content: Named for two Greek inscriptions painted on the right niche Context: Catacombs beneath Rome have 4 million dead, and extend for about 100 miles. Cross Cultural Connection(s):
48a. Catacomb of Priscilla (Chapel) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): ... Form: Three niches for sarcophagi. Decorated with paintings in the Pompeian style; sketchy painterly brushstrokes. Function: Contains the tombs of seven popes and many early Christian martyrs. Content: Named for two Greek inscriptions painted on the right niche Context: Catacombs beneath Rome have 4 million dead, and extend for about 100 miles. Cross Cultural Connection(s):
48b. Catacomb of Priscilla (Orant Figure) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): worship Form: Fresco over a tomb niche set over an arched wall. Stands with arms outstretched in prayer. Figure is compact, dark, set off from a light background; terse angular contours; emphatic gestures Function: Offering prayers for deceased Content: Left: painting of a teacher with children. Right: mother and child (perhaps Mary with Christ or the Church) Context: Cemetery of a family vault Cross Cultural Connection(s):
48b. Catacomb of Priscilla (Orant Figure) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): worship Form: Fresco over a tomb niche set over an arched wall. Stands with arms outstretched in prayer. Figure is compact, dark, set off from a light background; terse angular contours; emphatic gestures Function: Offering prayers for deceased Content: Left: painting of a teacher with children. Right: mother and child (perhaps Mary with Christ or the Church) Context: Cemetery of a family vault Cross Cultural Connection(s):
48c. Catacomb of Priscilla (Good Shepherd Fresco) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): ... Form: Retrained portrait of Christ as a Good Shepherd, a pastoral motif in ancient art going back to the Greeks. Function: Symbolism of the Good Shepherd: rescues individual sinners in his flock who stray. Content: Stories of the life of the Old Testament Prophet Jonah who appears in the lunettes; Jonah's regurgitation from the mouth of a big fish is seen as prefiguring Christ's resurrection. Context: Early Christian catacombs Significance: Parallels between Old and New Testament stories feature prominently in Early Christian art; Christians see this as a fulfillment of the Hebrew scriptures. Cross Cultural Connection(s): Sistine Chapel Ceiling; Arena Chapel; Gaulli, Triumph of the Name of Jesus
48c. Catacomb of Priscilla (Good Shepherd Fresco) Location: Rome, Italy Artist: ? Date: c. 200-400 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Excavated tufa and fresco Theme(s): ... Form: Retrained portrait of Christ as a Good Shepherd, a pastoral motif in ancient art going back to the Greeks. Function: Symbolism of the Good Shepherd: rescues individual sinners in his flock who stray. Content: Stories of the life of the Old Testament Prophet Jonah who appears in the lunettes; Jonah's regurgitation from the mouth of a big fish is seen as prefiguring Christ's resurrection. Context: Early Christian catacombs Significance: Parallels between Old and New Testament stories feature prominently in Early Christian art; Christians see this as a fulfillment of the Hebrew scriptures. Cross Cultural Connection(s): Sistine Chapel Ceiling; Arena Chapel; Gaulli, Triumph of the Name of Jesus
49. Santa Sabina Location: Rome, Italy Founder: Peter of Illyria Date: c. 422-432 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Brick and stone, with a wooden roof Theme(s): worship, belief Form: The tall, spacious nave (central part of a church building, intended to accommodate most of the congregation) has 24 columns of Proconnesian marble with perfectly matched Corinthian columns and bases (reused from the Temple of Juno). The spandrels (triangular space between one side of the outer curve of an arch, a wall, and the ceiling or framework) of the closely-spaced arches have inlaid marble designs in green and purple, depicting chalices and patens to represent the Eucharist. Interior=bright, due to the row of windows in the clerestory plus three in the apse and five in the facade. The windows and marble chancel furniture date from the 9th century. Door: carved from dark cypress wood Function: Church Content: Walls were originally painted with mosaics, door: contains 18 panels of narrative carvings, most depicting biblical scenes Context: Santa Sabina was built at the top of the Aventine Hill on the site of the Temple of Juno Regina, using many of its materials. The church was an expansion of a Roman house-church (titulus) owned by a woman named Sabina. As was common in ancient Rome, the church preserved the name of the title holder by simply adding
49. Santa Sabina Location: Rome, Italy Founder: Peter of Illyria Date: c. 422-432 C.E. Culture: ... Period/Style: Late Antique Europe Medium/Material: Brick and stone, with a wooden roof Theme(s): worship, belief Form: The tall, spacious nave (central part of a church building, intended to accommodate most of the congregation) has 24 columns of Proconnesian marble with perfectly matched Corinthian columns and bases (reused from the Temple of Juno). The spandrels (triangular space between one side of the outer curve of an arch, a wall, and the ceiling or framework) of the closely-spaced arches have inlaid marble designs in green and purple, depicting chalices and patens to represent the Eucharist. Interior=bright, due to the row of windows in the clerestory plus three in the apse and five in the facade. The windows and marble chancel furniture date from the 9th century. Door: carved from dark cypress wood Function: Church Content: Walls were originally painted with mosaics, door: contains 18 panels of narrative carvings, most depicting biblical scenes Context: Santa Sabina was built at the top of the Aventine Hill on the site of the Temple of Juno Regina, using many of its materials. The church was an expansion of a Roman house-church (titulus) owned by a woman named Sabina. As was common in ancient Rome, the church preserved the name of the title holder by simply adding "Saint" onto her name. (sacred-destinations) Cross Cultural Connection(s): Great Mosque of Djenne, Pantheon
50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis Location: Vienna Date: Early 6th century C.E. Period/Style: Early Byzantine Europe Medium/Material: Illuminated manuscript (tempera, gold, and silver on purple vellum) Theme(s): Worship & beliefs Form: shallow settings, fluid movement of figures, richly colored, two rows linked by a bridge. Continuous narrative; contrapposto, foreshortening, shadowing, perspective Function: to depict the two narratives of Genesis Content: Lively, softly modeled figures Context: Stories of Rebecca and Eliezer and Jacob Cross Cultural Connection(s):
50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis Location: Vienna Date: Early 6th century C.E. Period/Style: Early Byzantine Europe Medium/Material: Illuminated manuscript (tempera, gold, and silver on purple vellum) Theme(s): Worship & beliefs Form: shallow settings, fluid movement of figures, richly colored, two rows linked by a bridge. Continuous narrative; contrapposto, foreshortening, shadowing, perspective Function: to depict the two narratives of Genesis Content: Lively, softly modeled figures Context: Stories of Rebecca and Eliezer and Jacob Cross Cultural Connection(s):
51a. San Vitale Location: Ravenna, Italy Date: 526-547 C.E. Period/Style: Early Byzantine Medium/Material: brick, marble, stone Theme(s): worship Form: Octagon shape, plan exterior, large windows, thin interior columns, open arched spaces, interior elements dematerialize the mass of the structure, martyrium Function: Church (worship) Content: two superposed ambulatories; Upper one (the martyrium) was reserved for married women. Series of mosaics in the lunettes above the triforium depict sacrifices from the Old Testament Context: thought to reflect the design of the Byzantine Imperial Palace Audience Chamber, of which nothing at all survives Cross Cultural Connection(s): Pantheon, Mosque of Selim II
51a. San Vitale Location: Ravenna, Italy Date: 526-547 C.E. Period/Style: Early Byzantine Medium/Material: brick, marble, stone Theme(s): worship Form: Octagon shape, plan exterior, large windows, thin interior columns, open arched spaces, interior elements dematerialize the mass of the structure, martyrium Function: Church (worship) Content: two superposed ambulatories; Upper one (the martyrium) was reserved for married women. Series of mosaics in the lunettes above the triforium depict sacrifices from the Old Testament Context: thought to reflect the design of the Byzantine Imperial Palace Audience Chamber, of which nothing at all survives Cross Cultural Connection(s): Pantheon, Mosque of Selim II
51b. Justinian and Attendants Location: San Vitale; Ravenna, Italy Date: c. 547 C.E. Period/Style: Early Byzantine Medium/Material: mosaic Theme(s): authority, unity between state and church Form: symmetrical and frontal, figures have no volume, float, overlap, minimal background Function: to depict Justinian and his attendants participating in the Mass Content: dressed in royal purple and gold, holds a paten, Archbishop Maximianus identified, Halos indicate saintliness Context: Banker Julianus Argentarius financed the building of San Vitale Cross Cultural Connection(s): Alexander Mosaic
51b. Justinian and Attendants Location: San Vitale; Ravenna, Italy Date: c. 547 C.E. Period/Style: Early Byzantine Medium/Material: mosaic Theme(s): authority, unity between state and church Form: symmetrical and frontal, figures have no volume, float, overlap, minimal background Function: to depict Justinian and his attendants participating in the Mass Content: dressed in royal purple and gold, holds a paten, Archbishop Maximianus identified, Halos indicate saintliness Context: Banker Julianus Argentarius financed the building of San Vitale Cross Cultural Connection(s): Alexander Mosaic
51c. Theodora and Attendants Location: San Vitale; Ravenna, Italy Date: c. 547 C.E. Period/Style: Early Byzantine Medium/Material: mosaic Theme(s): authority and unity between state and church, similarly to Justinian and Attendants Form: displacement of absolute symmetry with Theodora (play a secondary role to her husband) Function: depicts Theodora and her attendants participating in the Mass Content: Richly robed empress and ladies at court, stands in an architectural framework, holding a chalice for the mass, and is about to go behind the curtain, flattened and weightless Context: Three Magi, who bring gifts to the baby Jesus, are depicted in the hem of her dress, referring to a parallel between Theodora and the Magi Cross Cultural Connection(s): Dome of the Rock interior
51c. Theodora and Attendants Location: San Vitale; Ravenna, Italy Date: c. 547 C.E. Period/Style: Early Byzantine Medium/Material: mosaic Theme(s): authority and unity between state and church, similarly to Justinian and Attendants Form: displacement of absolute symmetry with Theodora (play a secondary role to her husband) Function: depicts Theodora and her attendants participating in the Mass Content: Richly robed empress and ladies at court, stands in an architectural framework, holding a chalice for the mass, and is about to go behind the curtain, flattened and weightless Context: Three Magi, who bring gifts to the baby Jesus, are depicted in the hem of her dress, referring to a parallel between Theodora and the Magi Cross Cultural Connection(s): Dome of the Rock interior
52. Hagia Sophia Location: Constantinople (present Istanbul) Artist: Anthemius of Tralles and Isidorus of Miletus Date: 532-537 C.E. Period/Style: Early Byzantine Medium/Material: Brick and ceramic elements with stone and mosaic veneer Theme(s): Worship, wisdom Form: combination of a centrally and axially planned structure, dome supported by pendentives, large central dome w/ 40 windows, acting as a halo. Minarets were added during its Islamic period Function: Church, Mosque, now a museum Content: Large fields for mosaic decoration. At one time, it had four acres of gold mosaics on walls. Context:
52. Hagia Sophia Location: Constantinople (present Istanbul) Artist: Anthemius of Tralles and Isidorus of Miletus Date: 532-537 C.E. Period/Style: Early Byzantine Medium/Material: Brick and ceramic elements with stone and mosaic veneer Theme(s): Worship, wisdom Form: combination of a centrally and axially planned structure, dome supported by pendentives, large central dome w/ 40 windows, acting as a halo. Minarets were added during its Islamic period Function: Church, Mosque, now a museum Content: Large fields for mosaic decoration. At one time, it had four acres of gold mosaics on walls. Context: "Hagia Sophia" means Holy Wisdom Cross Cultural Connection(s):
53. Merovingian looped fibulae Date: Mid-sixth century C.E. Period/Style: Early Medieval Europe Medium/Material: Silver gilt worked in filigree, with inlays of garnets and other stones Theme(s): small, portable objects Form: cloisonné and chasing/repoussé techniques; zoomorphic elements Function: a pin or brooch used to fasten garments; showed the prestige of the wearer Content: N/A Context: represented the decline of the classical tradition Cross Cultural Connection(s):
53. Merovingian looped fibulae Date: Mid-sixth century C.E. Period/Style: Early Medieval Europe Medium/Material: Silver gilt worked in filigree, with inlays of garnets and other stones Theme(s): small, portable objects Form: cloisonné and chasing/repoussé techniques; zoomorphic elements Function: a pin or brooch used to fasten garments; showed the prestige of the wearer Content: N/A Context: represented the decline of the classical tradition Cross Cultural Connection(s):
54. Virgin (Theotokos) and Child between Saints Theodore and George Location: Monastery of Saint Catherine, Mount Sinai, Egypt Date: sixth-early seventh centuries Period/Style: Early Byzantine Medium/Material: encaustic on wood Theme(s): icons Form: Virgin and Child centrally placed, firmly modeled Function: to depict Mary and her son Content: Saints Theodore and George; warrior saints; stiff and hieratic (engage viewer directly); angels look towards heaven (classically) Context: placed in a medieval monastery Cross Cultural Connection(s):
54. Virgin (Theotokos) and Child between Saints Theodore and George Location: Monastery of Saint Catherine, Mount Sinai, Egypt Date: sixth-early seventh centuries Period/Style: Early Byzantine Medium/Material: encaustic on wood Theme(s): icons Form: Virgin and Child centrally placed, firmly modeled Function: to depict Mary and her son Content: Saints Theodore and George; warrior saints; stiff and hieratic (engage viewer directly); angels look towards heaven (classically) Context: placed in a medieval monastery Cross Cultural Connection(s):
55a. Cross Page from the Book of Matthew from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: horror vacui decoration, symmetrical Function: ... Content: dog-headed snakes intermixed with birds with long beaks, coisonné styles, mix of Celtic imagery and Christian theology Context: written in Latin, with annotations in English between the lines Cross Cultural Connection(s): Golden Haggadah
55a. Cross Page from the Book of Matthew from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: horror vacui decoration, symmetrical Function: ... Content: dog-headed snakes intermixed with birds with long beaks, coisonné styles, mix of Celtic imagery and Christian theology Context: written in Latin, with annotations in English between the lines Cross Cultural Connection(s): Golden Haggadah
55b. Saint Luke Portrait from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: Saint Luke framed within a decorated border Function: to depict Saint Luke in a portrait Content: heavily bearded St. Luke gives weight to his authority as an author, but he appears as a younger man Context: written in Latin, with annotations in English between the lines Cross Cultural Connection(s): Golden Haggadah
55b. Saint Luke Portrait from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: Saint Luke framed within a decorated border Function: to depict Saint Luke in a portrait Content: heavily bearded St. Luke gives weight to his authority as an author, but he appears as a younger man Context: written in Latin, with annotations in English between the lines Cross Cultural Connection(s): Golden Haggadah
55c. Saint Luke Incipit Page from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: Numerous Celtic spiral ornaments; step patterns appear in the enlarged
55c. Saint Luke Incipit Page from The Book of Lindisfarne Location: Europe Artist: Eadrith, bishop of Lindisfarne Date: c. 700 C.E. Period/Style: Early medieval (Hiberno Saxon) Medium/Material: Illuminated manuscript (ink, pigments, and gold on vellum) Theme(s): ... Form: Numerous Celtic spiral ornaments; step patterns appear in the enlarged "O" Content: lower right corner shows a naturalistic detail of a car who has eaten eight birds Context: written in Latin, with annotations in English between the lines; Incipit means opening words of St. Luke's gospel: "Quoniam Quidem..." Cross Cultural Connection(s): Golden Haggadah
56. Great Mosque Location: Córdoba, Spain Date: c. 785-786 C.E., eighth-tenth centuries Period/Style: Umayyad Caliphate (Islamic Art) Medium/Material: Stone masonry Theme(s): worship Form: Double-arched columns, articulated in alternating bands of color; voussoirs Function: worship Content: columns are spoil, hypostyle mosque, kufic calligraphy, complex dome over mihrab (squinches) Context: ... Cross Cultural Connection(s):
56. Great Mosque Location: Córdoba, Spain Date: c. 785-786 C.E., eighth-tenth centuries Period/Style: Umayyad Caliphate (Islamic Art) Medium/Material: Stone masonry Theme(s): worship Form: Double-arched columns, articulated in alternating bands of color; voussoirs Function: worship Content: columns are spoil, hypostyle mosque, kufic calligraphy, complex dome over mihrab (squinches) Context: ... Cross Cultural Connection(s):
57. Pyxis of al-Mughira Date: c. 968 C.E. (Ummayad Caliphate) Period/Style: Islamic Art Medium/Material: Ivory Theme(s): arts, activity Form: horror vacui; vegetal and geometric motifs (jali?) Function: container for expensive aromatics; gift for caliph's younger son Content: eight medallion scenes showing pleasure activities of the royal court, such as: hunting, falconry, sports, and musicians Context: from Muslim Spain Cross Cultural Connection(s): Palette of King Narmer
57. Pyxis of al-Mughira Date: c. 968 C.E. (Ummayad Caliphate) Period/Style: Islamic Art Medium/Material: Ivory Theme(s): arts, activity Form: horror vacui; vegetal and geometric motifs (jali?) Function: container for expensive aromatics; gift for caliph's younger son Content: eight medallion scenes showing pleasure activities of the royal court, such as: hunting, falconry, sports, and musicians Context: from Muslim Spain Cross Cultural Connection(s): Palette of King Narmer
58. Church of Sainte-Foy, Reliquary of Saint Foy Location: Conques, France Date: c. 1050-1130 C.E., 9th century C.E. with later additions Period/Style: Romanesque Europe Medium/Material: stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary) Theme(s): Form: cruciform church; axial plan: shaped like a cross with a horizontal arrangement; massive heavy interior walls which are unadorned; no clerestory; barrel vaults with transverse arches Function: Pilgrimage Church Content: Last Judgment Tympanum: largest Romanesque tympanum. Christ is a strict judge who is dividing people into Heaven and Hell, with a welcoming right hand and cast down left hand. Michael and devil at his feet, weighing the souls. People would enter on the right/damned side, and exit saved on the left. Context: an important pilgrimage church on the route to Santiago de Compostela in Northern Spain Cross Cultural Connection(s):
58. Church of Sainte-Foy, Reliquary of Saint Foy Location: Conques, France Date: c. 1050-1130 C.E., 9th century C.E. with later additions Period/Style: Romanesque Europe Medium/Material: stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary) Theme(s): Form: cruciform church; axial plan: shaped like a cross with a horizontal arrangement; massive heavy interior walls which are unadorned; no clerestory; barrel vaults with transverse arches Function: Pilgrimage Church Content: Last Judgment Tympanum: largest Romanesque tympanum. Christ is a strict judge who is dividing people into Heaven and Hell, with a welcoming right hand and cast down left hand. Michael and devil at his feet, weighing the souls. People would enter on the right/damned side, and exit saved on the left. Context: an important pilgrimage church on the route to Santiago de Compostela in Northern Spain Cross Cultural Connection(s):
60. Chartres Cathedral Location: Chartres, France Artist: Date: Original construction - 1145-1155 C.E. | Reconstructed - 1194 - 1220 C.E. Culture: Period/Style: Gothic Europe Medium/Material: Limestone, stained glass Theme(s): sacred site, worship Form: enlarged chevet, vertical interior pulls viewers gaze to the heavens, mysterious interior, stained glass enliven the interior surfaces of the church Function: sacred building Content: very Romanesque, rose window is more stone than glass (plate window), burned down in 1194 and rebuilt to fit the style at the time of the rebuilding; stained glass was intended to be educational; rose window in the north transept portrays figures from the Old Testament; Royal portal has 3 entry ways with elongated figures (caryatids) Context: The cathedral's association with the Virgin Mary (the supposed veil of the Virgin is kept in the cathedral treasury) made it the destination of pilgrims in the Middle Ages. Cross Cultural Connection(s):
60. Chartres Cathedral Location: Chartres, France Artist: Date: Original construction - 1145-1155 C.E. | Reconstructed - 1194 - 1220 C.E. Culture: Period/Style: Gothic Europe Medium/Material: Limestone, stained glass Theme(s): sacred site, worship Form: enlarged chevet, vertical interior pulls viewers gaze to the heavens, mysterious interior, stained glass enliven the interior surfaces of the church Function: sacred building Content: very Romanesque, rose window is more stone than glass (plate window), burned down in 1194 and rebuilt to fit the style at the time of the rebuilding; stained glass was intended to be educational; rose window in the north transept portrays figures from the Old Testament; Royal portal has 3 entry ways with elongated figures (caryatids) Context: The cathedral's association with the Virgin Mary (the supposed veil of the Virgin is kept in the cathedral treasury) made it the destination of pilgrims in the Middle Ages. Cross Cultural Connection(s):
59. Bayeux Tapestry (Calvary Attack & First Meal) Location: Bayeux, France Date: c. 1066-1080 C.E. Period/Style: Romanesque Europe (English or Norman) Medium/Material: Embroidery on linen Theme(s): conquest, daily life Form: neutral background, flat figures (no shadows), 230-feet long (continuous narrative); inscriptions are embroidered using wool yard sewn onto linen cloth; viewed as a chronicle; leads viewers' eyes from one scene to the next and divided the compositional space into three horizontal zones; not a tapestry, but embroidery on linen Function: tells the story of William's conquest of England at the Battle of Hastings in 1066 Content: 75 scenes with over 600 people; scenes of husbandry and hunting; William's tactical use of calvry is displayed in the
59. Bayeux Tapestry (Calvary Attack & First Meal) Location: Bayeux, France Date: c. 1066-1080 C.E. Period/Style: Romanesque Europe (English or Norman) Medium/Material: Embroidery on linen Theme(s): conquest, daily life Form: neutral background, flat figures (no shadows), 230-feet long (continuous narrative); inscriptions are embroidered using wool yard sewn onto linen cloth; viewed as a chronicle; leads viewers' eyes from one scene to the next and divided the compositional space into three horizontal zones; not a tapestry, but embroidery on linen Function: tells the story of William's conquest of England at the Battle of Hastings in 1066 Content: 75 scenes with over 600 people; scenes of husbandry and hunting; William's tactical use of calvry is displayed in the "calvary" scene; calvary could advance quickly and easily retreat, which would scatter an opponent's defense allowing the infantry to be made; war tactics Context: commissioned by Bishop Odo, half-brother of William the Conqueror Cross Cultural Connection(s): Ludovisi Battle Sarcophagus
61a. Dedication Page with Blanche of Castile and King Louis IX of France from Bibles moralisées Date: c. 1225-1245 C.E. Period/Style: Gothic Europe Medium/Material: Illuminated manuscript (ink, tempera, and gold leaf on vellum) Theme(s): ... Form: luminosity of stained glass windows, strong black outlining of forms; modeling is minimal Function: ... Content: TL: Blanche of Castle, mother and regent to the king; TR: teenage King Louis IX, B: older monk dictating to younger scribe Context: Moralized Bible Cross Cultural Connection(s): ...
61a. Dedication Page with Blanche of Castile and King Louis IX of France from Bibles moralisées Date: c. 1225-1245 C.E. Period/Style: Gothic Europe Medium/Material: Illuminated manuscript (ink, tempera, and gold leaf on vellum) Theme(s): ... Form: luminosity of stained glass windows, strong black outlining of forms; modeling is minimal Function: ... Content: TL: Blanche of Castle, mother and regent to the king; TR: teenage King Louis IX, B: older monk dictating to younger scribe Context: Moralized Bible Cross Cultural Connection(s): ...
61b. Dedication Page: Scenes from the Apocalypse from Bibles moralisées Location: Cathedral, Toledo Date: c. 1225-1245 C.E. Period/Style: Gothic Europe Medium/Material: Illuminated manuscript (ink, tempera, and gold leaf on vellum) Theme(s): Beliefs Form: eight medallions; format derives from stained glass windows Function: ... Content: two vertical columns of four painted scenes; each scene has a text with a summary of the event depicted in the roundel (colophon?) Context: ... Cross Cultural Connection(s): Golden Stool (sika dwa kofi)
61b. Dedication Page: Scenes from the Apocalypse from Bibles moralisées Location: Cathedral, Toledo Date: c. 1225-1245 C.E. Period/Style: Gothic Europe Medium/Material: Illuminated manuscript (ink, tempera, and gold leaf on vellum) Theme(s): Beliefs Form: eight medallions; format derives from stained glass windows Function: ... Content: two vertical columns of four painted scenes; each scene has a text with a summary of the event depicted in the roundel (colophon?) Context: ... Cross Cultural Connection(s): Golden Stool (sika dwa kofi)
62. Röttgen Pietá Date: 1300-1325 C.E. Period/Style: Late Medieval Europe Medium/Material: painted wood Theme(s): Humanizing religious themes Form: Grape-like drops of Christ's blood refers to himself as a mystical vineyard Function: andachtsbild (private devotion) Content: Christ emaciated (drained of all blood, tissue, muscle), horror of the Crucifixion manifest Context: ... Cross Cultural Connection(s): Munch, The Scream; Seated Boxer
62. Röttgen Pietá Date: 1300-1325 C.E. Period/Style: Late Medieval Europe Medium/Material: painted wood Theme(s): Humanizing religious themes Form: Grape-like drops of Christ's blood refers to himself as a mystical vineyard Function: andachtsbild (private devotion) Content: Christ emaciated (drained of all blood, tissue, muscle), horror of the Crucifixion manifest Context: ... Cross Cultural Connection(s): Munch, The Scream; Seated Boxer
63a. Arena (Scrovegni) Chapel Location: Padua, Italy Architect: Unknown Date: c. 1303 C.E. Period/Style: Gothic Italy Medium/Material: Brick Theme(s): worship, belief Form: plain exterior, vivid interior Function: to expiate the sin of usury through which Scrovegni's father amassed a fortune Content: Some narrative scenes illustrate Biblical episodes of ill-gotten gains Context: built over an ancient Roman arena, hence the name; also called Scrovegni Chapel after its patron, Enrico Scrovegni Cross Cultural Connection(s): Santa Sabina
63a. Arena (Scrovegni) Chapel Location: Padua, Italy Architect: Unknown Date: c. 1303 C.E. Period/Style: Gothic Italy Medium/Material: Brick Theme(s): worship, belief Form: plain exterior, vivid interior Function: to expiate the sin of usury through which Scrovegni's father amassed a fortune Content: Some narrative scenes illustrate Biblical episodes of ill-gotten gains Context: built over an ancient Roman arena, hence the name; also called Scrovegni Chapel after its patron, Enrico Scrovegni Cross Cultural Connection(s): Santa Sabina
63b. Last Judgment from the Arena Chapel Location: Padua, Italy Artist: Giotto di Bondone Date: c. 1305-1306 C.E. Period/Style: Gothic Italy Medium/Material: fresco Theme(s): Judgment Form: cross at the bottom center divides the saved from the damned Function: to depict the last judgment (end of world) Content: Christ as Judge, coming at the end of the world; heavenly powers arranged in an organized chorus; 12 apostles arranged symmetrically around Christ; devil at the right who eats and excretes sinners; those guilty of usury or money-related sins are particularly noted Context: Cross Cultural Connection(s):
63b. Last Judgment from the Arena Chapel Location: Padua, Italy Artist: Giotto di Bondone Date: c. 1305-1306 C.E. Period/Style: Gothic Italy Medium/Material: fresco Theme(s): Judgment Form: cross at the bottom center divides the saved from the damned Function: to depict the last judgment (end of world) Content: Christ as Judge, coming at the end of the world; heavenly powers arranged in an organized chorus; 12 apostles arranged symmetrically around Christ; devil at the right who eats and excretes sinners; those guilty of usury or money-related sins are particularly noted Context: Cross Cultural Connection(s):
63c. Lamentation from the Arena Chapel Location: Padua, Italy Artist: Giotto di Bondone Date: c. 1305-1306 Period/Style: Gothic Italy Medium/Material: fresco Theme(s): mourning, death, grief Form: shallow stage; figures occupy a palpable space pushed forward toward the picture plane; diagonal cliff points to the bottom-left corner; light falls from above right; clear foreground, middle ground, and background Function: to depict a range of emotion, such as sadness, outbursts, and despair related to Jesus's death Content: St. John throwing his head back, Mary Magdalene cradling at Jesus's feet, Mary holding Jesus's head, left shows Old Testament scene of Jonah (Yunus) being paralleled to Christ (dying and coming back to life) Context: ... Cross Cultural Connection(s): Seated Boxer
63c. Lamentation from the Arena Chapel Location: Padua, Italy Artist: Giotto di Bondone Date: c. 1305-1306 Period/Style: Gothic Italy Medium/Material: fresco Theme(s): mourning, death, grief Form: shallow stage; figures occupy a palpable space pushed forward toward the picture plane; diagonal cliff points to the bottom-left corner; light falls from above right; clear foreground, middle ground, and background Function: to depict a range of emotion, such as sadness, outbursts, and despair related to Jesus's death Content: St. John throwing his head back, Mary Magdalene cradling at Jesus's feet, Mary holding Jesus's head, left shows Old Testament scene of Jonah (Yunus) being paralleled to Christ (dying and coming back to life) Context: ... Cross Cultural Connection(s): Seated Boxer
64. Golden Haggadah (The Plaques of Egypt, Scenes of Liberation and Preparation for Passover) Location: northern Spain, probably Barcelona Date: c. 1320 C.E. Culture: Jewish Period/Style: Gothic Medium/Material: Illuminated Manuscript, pigment on vellum Theme(s): Belief Form: style similar to French Gothic manuscripts in the handling of space, architecture, figure style, facial expression, and manuscript medium Function: to be read at a Passover seder Content: Jewish exodus from Egypt under Moses and its subsequent celebration upper right: Miriam (Moses' sister); upper left: the master of the house, sitting under a canopy; lower right: the house is prepared for Passover; bottom left: sheep are slaughtered for Passover and a man purifies utensils in a cauldron over a fire Context: Haggadah means
64. Golden Haggadah (The Plaques of Egypt, Scenes of Liberation and Preparation for Passover) Location: northern Spain, probably Barcelona Date: c. 1320 C.E. Culture: Jewish Period/Style: Gothic Medium/Material: Illuminated Manuscript, pigment on vellum Theme(s): Belief Form: style similar to French Gothic manuscripts in the handling of space, architecture, figure style, facial expression, and manuscript medium Function: to be read at a Passover seder Content: Jewish exodus from Egypt under Moses and its subsequent celebration upper right: Miriam (Moses' sister); upper left: the master of the house, sitting under a canopy; lower right: the house is prepared for Passover; bottom left: sheep are slaughtered for Passover and a man purifies utensils in a cauldron over a fire Context: Haggadah means "narration"; fulfills the Jewish requirement to tell the story of the Jews' escape from Egypt as a reminder of God's mercy Cross Cultural Connection(s): Giotto, Lamentation from the Arena Chapel
65a. Alhambra (Hall of the Sisters/Sala de las dos Hermanas) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Theme(s): music Form: abstract patterns, abstraction of forms; Function: used as a music room or reception Content: 16 windows on top of the hall (allows light to dissolve into a pattern from the ceiling); 5,000 muqarnas refract light; carved in stucco onto ceiling; highly sophisticated and refined interior Context: an abbreviation of the Arabic: Qal'at al-Hamra, or red fort, was built by the Nasrid Dynasty - the last Muslims to rule in Spain Cross Cultural Connection(s): House of the Vetii, Château de Versailles
65a. Alhambra (Hall of the Sisters/Sala de las dos Hermanas) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Theme(s): music Form: abstract patterns, abstraction of forms; Function: used as a music room or reception Content: 16 windows on top of the hall (allows light to dissolve into a pattern from the ceiling); 5,000 muqarnas refract light; carved in stucco onto ceiling; highly sophisticated and refined interior Context: an abbreviation of the Arabic: Qal'at al-Hamra, or red fort, was built by the Nasrid Dynasty - the last Muslims to rule in Spain Cross Cultural Connection(s): House of the Vetii, Château de Versailles
65b. Alhambra (Plan) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Form: Different parts of the complex are connected by paths, gardens and gates, but each part of the complex could be blocked in the event of a threat. Structures with their highly ornate interior spaces and patios contrast with the plain walls of the fortress exterior. Function: Content: 730 meters of walls and thirty towers of varying size enclose this city within a city; Access restricted to four main gates; 26 acres include structures with three purposes: residence for the ruler and close family, citadel (Alcazaba)—barracks for the elite guard who was responsible for the safety of the complex, and an area called medina (or city), near the Puerta del Vino (Wine Gate), where court officials lived and worked.
65b. Alhambra (Plan) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Form: Different parts of the complex are connected by paths, gardens and gates, but each part of the complex could be blocked in the event of a threat. Structures with their highly ornate interior spaces and patios contrast with the plain walls of the fortress exterior. Function: Content: 730 meters of walls and thirty towers of varying size enclose this city within a city; Access restricted to four main gates; 26 acres include structures with three purposes: residence for the ruler and close family, citadel (Alcazaba)—barracks for the elite guard who was responsible for the safety of the complex, and an area called medina (or city), near the Puerta del Vino (Wine Gate), where court officials lived and worked.
65c. Alhambra (Palace of the Lions/Palacio de los Leones) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Theme(s): ... Form: thin columns support heavy roofs (weightlessness); intricately patterned and sculpted ceilings and walls; Function: ? Content: a fountain made of marble which stands on twelve stone lions is placed in the intersection of a cross in the rectilinear courtyard; arched covered patio; stucco carvings held by columns; parts of walls are chiseled through to create vibrant light patterns within Context: The Palacio de los Leones (Palace of the Lions) stands next to the Comares Palace but should be considered an independent building Cross Cultural Connection(s): ...
65c. Alhambra (Palace of the Lions/Palacio de los Leones) Location: Granada, Spain Date: 1353-1391 C.E. Period/Style: Nasrid Dynasty Medium/Material: Whitewashed adobe stucco, wood, tile, paint, and gilding Theme(s): ... Form: thin columns support heavy roofs (weightlessness); intricately patterned and sculpted ceilings and walls; Function: ? Content: a fountain made of marble which stands on twelve stone lions is placed in the intersection of a cross in the rectilinear courtyard; arched covered patio; stucco carvings held by columns; parts of walls are chiseled through to create vibrant light patterns within Context: The Palacio de los Leones (Palace of the Lions) stands next to the Comares Palace but should be considered an independent building Cross Cultural Connection(s): ...
66. Annunciation Triptych (Merode Altarpiece) Location: Workshop of Robert Campin Artist: Robert Campin Date: 1427-1432 C.E. (15th century) Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): purity, capture Form: Humanization of traditional themes: no halos, domestic interiors, view into a Flemish cityscape Function: to depict an annunciation, the announcement of the Incarnation by the angel Gabriel to Mary, in a Flemish scene; altarpiece Content: L: displays donors, middle-class people kneeling before the holy scene; C: Annunciation taking place in an everyday Flemish interior; R: Joseph in his carpentry workshop; mousetrap symbolizes the capturing of the devil Context: Renaissance was the rebirth of older ideas; humanization to be more scientific, but they also wanted to go back to the classics; oil paint led to more detailed pieces Cross Cultural Connection(s):
66. Annunciation Triptych (Merode Altarpiece) Location: Workshop of Robert Campin Artist: Robert Campin Date: 1427-1432 C.E. (15th century) Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): purity, capture Form: Humanization of traditional themes: no halos, domestic interiors, view into a Flemish cityscape Function: to depict an annunciation, the announcement of the Incarnation by the angel Gabriel to Mary, in a Flemish scene; altarpiece Content: L: displays donors, middle-class people kneeling before the holy scene; C: Annunciation taking place in an everyday Flemish interior; R: Joseph in his carpentry workshop; mousetrap symbolizes the capturing of the devil Context: Renaissance was the rebirth of older ideas; humanization to be more scientific, but they also wanted to go back to the classics; oil paint led to more detailed pieces Cross Cultural Connection(s):
67. Pazzi Chapel Location: Basilica di Santa Croce, Florence, Italy Architect: Filippo Brunelleschi Date: designed 1423 C.E.; built 1429-1461 C.E. Period/Style: Northern European Renaissance Medium/Material: Masonry Theme(s): devotion, gathering Form: rectangular chapel attached to the church of Santa Croce, Florence; two barrel vaults in the interior, small dome over crossing; restrained sense of color, muted tones, punctuated by glazed terra-cotta tiles; lantern on top of dome Function: chapel (devotion); Chapter House: meeting place for the Franciscan Monks; shows classical elements Content: Roman features: columns, entablature, architrave, cornice, porticul Context: Attribution to Brunelleschi has been questioned Cross Cultural Connection(s): Arena Chapel
67. Pazzi Chapel Location: Basilica di Santa Croce, Florence, Italy Architect: Filippo Brunelleschi Date: designed 1423 C.E.; built 1429-1461 C.E. Period/Style: Northern European Renaissance Medium/Material: Masonry Theme(s): devotion, gathering Form: rectangular chapel attached to the church of Santa Croce, Florence; two barrel vaults in the interior, small dome over crossing; restrained sense of color, muted tones, punctuated by glazed terra-cotta tiles; lantern on top of dome Function: chapel (devotion); Chapter House: meeting place for the Franciscan Monks; shows classical elements Content: Roman features: columns, entablature, architrave, cornice, porticul Context: Attribution to Brunelleschi has been questioned Cross Cultural Connection(s): Arena Chapel
68. The Arnolfini Portrait Artist: Jan van Eyck Date: 1434 C.E. Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): wedding, memorial, betrothal, business Form: Wife holds dress up to symbolize childbirth, but is not pregnant; statue of St. Margaret (patron of childbirth) seen on bedpost Function: to depict Mr. and Mrs. Arnolfini's wedding, death memorial, betrothal, or business work Content: one candle burning on Mr's side, none on Mrs's; shoes are cast off to indicate holy ground; dog (symbolizes fidelity); witnesses seen in mirror (
68. The Arnolfini Portrait Artist: Jan van Eyck Date: 1434 C.E. Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): wedding, memorial, betrothal, business Form: Wife holds dress up to symbolize childbirth, but is not pregnant; statue of St. Margaret (patron of childbirth) seen on bedpost Function: to depict Mr. and Mrs. Arnolfini's wedding, death memorial, betrothal, or business work Content: one candle burning on Mr's side, none on Mrs's; shoes are cast off to indicate holy ground; dog (symbolizes fidelity); witnesses seen in mirror ("Jan van Eyck was here 1434") Context: Many theories attributed to this work, such as if it is a wedding or memorial to his wife or betrothal or a legal purpose Cross Cultural Connection(s):
69. David Location: Florence, Italy Artist: Donatello Date: c. 1440-1460 C.E. Period/Style: Early Italian Renaissance Medium/Material: Bronze Theme(s): humility and victory Form: exaggerated contrapposto, life-size, androgynous, nonchalance Function: ... Content: head lowered to suggest humility; Laurel on hat indicates David was a poet (hat is a foppish Renaissance design) Context: first large bronze nude since antiquity Cross Cultural Connection(s): Seated Boxer
69. David Location: Florence, Italy Artist: Donatello Date: c. 1440-1460 C.E. Period/Style: Early Italian Renaissance Medium/Material: Bronze Theme(s): humility and victory Form: exaggerated contrapposto, life-size, androgynous, nonchalance Function: ... Content: head lowered to suggest humility; Laurel on hat indicates David was a poet (hat is a foppish Renaissance design) Context: first large bronze nude since antiquity Cross Cultural Connection(s): Seated Boxer
70. Palazzo Rucclelai Location: Florence, Italy Architect: Leon Battista Alberti Date: c. 1450 C.E. Period/Style: Early Italian Renaissance Medium/Material: stone, masonry Theme(s): Form: three horizontal floors (one hidden
70. Palazzo Rucclelai Location: Florence, Italy Architect: Leon Battista Alberti Date: c. 1450 C.E. Period/Style: Early Italian Renaissance Medium/Material: stone, masonry Theme(s): Form: three horizontal floors (one hidden "4th" floor) are of equal height and are separated by a strongly articulated stringcourse; pilasters rise vertically and divide the spaces into squarish shapes; strong classical cornice; original building had 5 bays on the left, with a central door; second doorway bay and right bay were added later; eighth bay fragmentary Function: business, guest meetings, private apartments Content: Friezes: Rucellai family symbols (billowing sails); 1st floor: square windows; 2nd-3rd floors: windows with mullions Context: owners next door refused to sell the eighth bay fragmentary; patron was Giovanni Ruccelai Cross Cultural Connection(s): Trajan's Market
71. Madonna and Child with Two Angels Location: Uffizi, Florence, Italy Artist: Fra Filippo Lippi Date: c. 1465 Period/Style: Early Italian Renaissance Medium/Material: tempera on wood Theme(s): motherhood, landscape Form: landscape: rock formations indicate the Church; city near the Madonna's head in the Heavenly Jerusalem; scene depicted as it if were a window of a Florentine home Function: to depict the Humanization of a sacred theme Content: Motif of a pearl, seen in headdress and pillow as products of the sear (UL corner); pearls used as symbols in scenes of the Immaculate Connception of Mary and the Incarnation of Christ Context: Mary seen as a young mother; model may have been the artist's lover Cross Cultural Connection(s): Röttgen Pietá
71. Madonna and Child with Two Angels Location: Uffizi, Florence, Italy Artist: Fra Filippo Lippi Date: c. 1465 Period/Style: Early Italian Renaissance Medium/Material: tempera on wood Theme(s): motherhood, landscape Form: landscape: rock formations indicate the Church; city near the Madonna's head in the Heavenly Jerusalem; scene depicted as it if were a window of a Florentine home Function: to depict the Humanization of a sacred theme Content: Motif of a pearl, seen in headdress and pillow as products of the sear (UL corner); pearls used as symbols in scenes of the Immaculate Connception of Mary and the Incarnation of Christ Context: Mary seen as a young mother; model may have been the artist's lover Cross Cultural Connection(s): Röttgen Pietá
72. Birth of Venus Location: Uffzi, Florence, Italy Artist: Sandro Botticelli Date: c. 1484-1486 Period/Style: Early Italian Renaissance Medium/Material: tempera on canvas Theme(s): birth, love, pain, loyalty Form: figures float; crisply drawn figures, pale colors; flat and unrealistic; simple V-shaped waves Function: to depict the tale of Venus's birth Content: Venus emerges fully grown from the foam of the sea with a faraway look in her eyes; L: zephyr (west wind) and chloris (nymph); R: handmaiden rushes to clothe her Context: roses are scattered before her that were create at the same time as Venus, representing love's painfulness; Medici commission Cross Cultural Connection(s): Raphael, School of Athens
72. Birth of Venus Location: Uffzi, Florence, Italy Artist: Sandro Botticelli Date: c. 1484-1486 Period/Style: Early Italian Renaissance Medium/Material: tempera on canvas Theme(s): birth, love, pain, loyalty Form: figures float; crisply drawn figures, pale colors; flat and unrealistic; simple V-shaped waves Function: to depict the tale of Venus's birth Content: Venus emerges fully grown from the foam of the sea with a faraway look in her eyes; L: zephyr (west wind) and chloris (nymph); R: handmaiden rushes to clothe her Context: roses are scattered before her that were create at the same time as Venus, representing love's painfulness; Medici commission Cross Cultural Connection(s): Raphael, School of Athens
James Minor>Andrew>Judas>Peter>John>Jesus>Thomas> James Major>Philip>Matthew>Thaddeus>Simon. Context: Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him Cross Cultural Connection(s): Justinian and Theodora" alt="73. The Last Supper Location: Milan, Italy Artist: Leonardo da Vinci Date: 1494-1498 C.E. Period/Style: High Renaissance Medium/Material: tempera and oil Theme(s): belief Form: balanced composition is anchored by an equilateral triangle, formed by Christ's body. He sits below an arching pediment that when completed, traces a circle. These ideal geometric forms refer to the renaissance interest in Neo-Platonism (an element of the humanist revival that reconciles aspects of Greek philosophy with Christian theology) (khan academy). Function: depicts Christ blessing the bread and saying to the apostles, "Take, eat; this is my body" - these words are the founding moment of the sacrament of the Eucharist Content: verdant landscape beyond the windows; (ordered from left to right) Bartholomew>James Minor>Andrew>Judas>Peter>John>Jesus>Thomas> James Major>Philip>Matthew>Thaddeus>Simon. Context: Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him Cross Cultural Connection(s): Justinian and Theodora">
73. The Last Supper Location: Milan, Italy Artist: Leonardo da Vinci Date: 1494-1498 C.E. Period/Style: High Renaissance Medium/Material: tempera and oil Theme(s): belief Form: balanced composition is anchored by an equilateral triangle, formed by Christ's body. He sits below an arching pediment that when completed, traces a circle. These ideal geometric forms refer to the renaissance interest in Neo-Platonism (an element of the humanist revival that reconciles aspects of Greek philosophy with Christian theology) (khan academy). Function: depicts Christ blessing the bread and saying to the apostles, "Take, eat; this is my body" - these words are the founding moment of the sacrament of the Eucharist Content: verdant landscape beyond the windows; (ordered from left to right) Bartholomew>James Minor>Andrew>Judas>Peter>John>Jesus>Thomas> James Major>Philip>Matthew>Thaddeus>Simon. Context: Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him Cross Cultural Connection(s): Justinian and Theodora
74. Adam and Eve Location: Artist: Albrecht Dürer Date: 1504 C.E. Culture: Period/Style: Medium/Material: Engraving Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
74. Adam and Eve Location: Artist: Albrecht Dürer Date: 1504 C.E. Culture: Period/Style: Medium/Material: Engraving Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
75a. Sistine Chapel (ceiling) Location: Vatican City, Italy Artist: Michelangelo Date: c. 1508-1512 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): motion, expression Form: complicated arrangement of figures for the ceiling; painted cornices frame groupings of figures in a highly organized way Function: place where new popes are elected Content: broadly illustrated first few chapters of Genesis, with accompanying Old Testament figures and antique sibyls; 300 figures on ceiling with no two having the same pose (Michelangelo's lifelong preoccupation with male nude in motion); enormous variety of expression; many figures are done for artistic expression rather than to enhance the narrative; acorns are a motif on the ceiling, inspired by the crest of the patron, Pope Julius II Context: Chapel itself erected in 1472 and painted by quattrocento masters including Botticelli and Perugino, as well as Michelangelo's teacher Ghirlandaio Cross Cultural Connection(s):
75a. Sistine Chapel (ceiling) Location: Vatican City, Italy Artist: Michelangelo Date: c. 1508-1512 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): motion, expression Form: complicated arrangement of figures for the ceiling; painted cornices frame groupings of figures in a highly organized way Function: place where new popes are elected Content: broadly illustrated first few chapters of Genesis, with accompanying Old Testament figures and antique sibyls; 300 figures on ceiling with no two having the same pose (Michelangelo's lifelong preoccupation with male nude in motion); enormous variety of expression; many figures are done for artistic expression rather than to enhance the narrative; acorns are a motif on the ceiling, inspired by the crest of the patron, Pope Julius II Context: Chapel itself erected in 1472 and painted by quattrocento masters including Botticelli and Perugino, as well as Michelangelo's teacher Ghirlandaio Cross Cultural Connection(s):
75b. The Delphic Sibyl from the Sistine Chapel Location: Vatican City, Italy Artist: Michelangelo Date: c. 1536-1541 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): foretelling, predicting Form: contrapposto; combination of Christian religious and pagan mythological imagery Function: depicts a sibyl Content: wears a Greek-style turban with its head turned as if listening; sorrowful expression; holds a scroll containing her prophecy Context: one of 5 sybils (prophetesses) on the ceiling, who were Greco-Roman figures whom Christians believed foretold the coming of Jesus Cross Cultural Connection(s): Lin, Vietnam Veterans Memorial
75b. The Delphic Sibyl from the Sistine Chapel Location: Vatican City, Italy Artist: Michelangelo Date: c. 1536-1541 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): foretelling, predicting Form: contrapposto; combination of Christian religious and pagan mythological imagery Function: depicts a sibyl Content: wears a Greek-style turban with its head turned as if listening; sorrowful expression; holds a scroll containing her prophecy Context: one of 5 sybils (prophetesses) on the ceiling, who were Greco-Roman figures whom Christians believed foretold the coming of Jesus Cross Cultural Connection(s): Lin, Vietnam Veterans Memorial
75c. The Flood from the Sistine Chapel Location: Vatican City, Italy Artist: Michelangelo Date: c. 1508-1512 C.E. Period/Style: High Renaissance and Medium/Material: fresco Theme(s): Belief Form: sculptural intensity of the figure style Function: to depict the story of Noah (Nuh) and his family's escape, as told in Genesis 7 and The Qur'an, Al-Nuh 71.1-28 Content: survivors holding onto mountain tops; man carrying drowned son to safety, only to meet his fate, 60 figures (crowded composition, horror vacui?); Context: Ark is the only safe haven, as seen in the fresco Cross Cultural Connection(s): Lam, The Jungle; Leonardo DaVinci, Last Supper
75c. The Flood from the Sistine Chapel Location: Vatican City, Italy Artist: Michelangelo Date: c. 1508-1512 C.E. Period/Style: High Renaissance and Medium/Material: fresco Theme(s): Belief Form: sculptural intensity of the figure style Function: to depict the story of Noah (Nuh) and his family's escape, as told in Genesis 7 and The Qur'an, Al-Nuh 71.1-28 Content: survivors holding onto mountain tops; man carrying drowned son to safety, only to meet his fate, 60 figures (crowded composition, horror vacui?); Context: Ark is the only safe haven, as seen in the fresco Cross Cultural Connection(s): Lam, The Jungle; Leonardo DaVinci, Last Supper
76. School of Athens Location: Vatican City, Italy Artist: Raphael Date: 1509-1511 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): honor, knowledge Form: open, clear light uniformly spread throughout composition; arches direct focus to Plato and Aristotle (center) Function: to depict the great figures during and before the time of Raphael, such as Leonardo, Plato, Euclid, etc. Content: center has two greatest figures in ancient Greek thought: Plato (with the features of Leonardo on left, pointing up) and Aristotle (Plato on left, Aristotle on right); Bramante (Pope's architect) is the bald figure of Euclid on the lower right; Raphael is in the corner at extreme right; Michelangelo resting on the stone block writing a poem Context: commissioned by Pope Julius II to decorate his library Cross Cultural Connection(s): Leonardo DaVinci, Last Supper
76. School of Athens Location: Vatican City, Italy Artist: Raphael Date: 1509-1511 C.E. Period/Style: High Renaissance Medium/Material: fresco Theme(s): honor, knowledge Form: open, clear light uniformly spread throughout composition; arches direct focus to Plato and Aristotle (center) Function: to depict the great figures during and before the time of Raphael, such as Leonardo, Plato, Euclid, etc. Content: center has two greatest figures in ancient Greek thought: Plato (with the features of Leonardo on left, pointing up) and Aristotle (Plato on left, Aristotle on right); Bramante (Pope's architect) is the bald figure of Euclid on the lower right; Raphael is in the corner at extreme right; Michelangelo resting on the stone block writing a poem Context: commissioned by Pope Julius II to decorate his library Cross Cultural Connection(s): Leonardo DaVinci, Last Supper
77. Isenheim alterpiece Location: Artist: Matthias Grünewald Date: c. 1512-1516 C.E. Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): Form: extreme detail Function: Content: Crucifixion in the central panel, Context: in a hospital Cross Cultural Connection(s):
77. Isenheim alterpiece Location: Artist: Matthias Grünewald Date: c. 1512-1516 C.E. Period/Style: Northern European Renaissance Medium/Material: Oil on wood Theme(s): Form: extreme detail Function: Content: Crucifixion in the central panel, Context: in a hospital Cross Cultural Connection(s):
78. Entombment of Christ Location: Florence, Italy Artist: Jacopo da Pontormo Date: 1525-1528 C.E. Period/Style: High Renaissance and Mannerism Medium/Material: Oil on wood Theme(s): Chaos, desperation, sorrow Form: center of composition is a grouping of hands, elongated bodies, high-keyed colors, no group line, disembodied hands, androgynous figures, twisted bodies; anti-classical composition Function: to depict the carrying of Jesus's lifeless body Content: Figures are not weeping, but they are yearning Context: ... Cross Cultural Connection(s):
78. Entombment of Christ Location: Florence, Italy Artist: Jacopo da Pontormo Date: 1525-1528 C.E. Period/Style: High Renaissance and Mannerism Medium/Material: Oil on wood Theme(s): Chaos, desperation, sorrow Form: center of composition is a grouping of hands, elongated bodies, high-keyed colors, no group line, disembodied hands, androgynous figures, twisted bodies; anti-classical composition Function: to depict the carrying of Jesus's lifeless body Content: Figures are not weeping, but they are yearning Context: ... Cross Cultural Connection(s):
Mosque of Selim II
Mosque of Selim II
85. Calling of Saint Matthew Location: Rome, Italy Artist: Caravaggio Date: c. 1597-1601 C.E. Period/Style: Italian Baroque Medium/Material: Oil on canvas Theme(s): chosen one Form: light comes in from two places from the right, creating a tenebrous effect on figures; diagonal shaft of light points directly to Saint Matthew, who paints to himself as if unsure that Christ would select a tax collector, depicting a moment in time Function: to depict the importance of Saint Matthew Content: Christ's hand gesture is similar to Adam's on the Sistine Chapel ceiling; foppishly dressed figures are in the latest Baroque fashion; narrow area for figures to stand; naturalist approach Context: one of three paints illustrating the life of Saint Matthew in a chapel dedicated to him by the Contarelli family Cross Cultural Connection(s):
85. Calling of Saint Matthew Location: Rome, Italy Artist: Caravaggio Date: c. 1597-1601 C.E. Period/Style: Italian Baroque Medium/Material: Oil on canvas Theme(s): chosen one Form: light comes in from two places from the right, creating a tenebrous effect on figures; diagonal shaft of light points directly to Saint Matthew, who paints to himself as if unsure that Christ would select a tax collector, depicting a moment in time Function: to depict the importance of Saint Matthew Content: Christ's hand gesture is similar to Adam's on the Sistine Chapel ceiling; foppishly dressed figures are in the latest Baroque fashion; narrow area for figures to stand; naturalist approach Context: one of three paints illustrating the life of Saint Matthew in a chapel dedicated to him by the Contarelli family Cross Cultural Connection(s):
93. Château de Versailles Location: Versailles, France Artist: Louis Le Vau and Jules Hardouin-Mansart Date: begun 1669 Culture: French Period/Style: Medium/Material: masonry, stone, wood, iron, and gold leaf Theme(s): Authority, power, political and economical ambitions Form: subdued exterior decoration on façade; undulation of projecting members is understated Function: houses Louis XIV Content: Hall of Mirrors: 240 feet long, barrel vaulted ceiling Context: remodeling of a hunting lodge Cross Cultural Connection(s): Conical Tower of Great Zimbabwe, Forbidden City
93. Château de Versailles Location: Versailles, France Artist: Louis Le Vau and Jules Hardouin-Mansart Date: begun 1669 Culture: French Period/Style: Medium/Material: masonry, stone, wood, iron, and gold leaf Theme(s): Authority, power, political and economical ambitions Form: subdued exterior decoration on façade; undulation of projecting members is understated Function: houses Louis XIV Content: Hall of Mirrors: 240 feet long, barrel vaulted ceiling Context: remodeling of a hunting lodge Cross Cultural Connection(s): Conical Tower of Great Zimbabwe, Forbidden City
120. The Starry Night Location: Artist: Vincent van Gogh Date: 1889 C.E. Culture: ... Period/Style: Late Europe/America Medium/Material: Oil on canvas Theme(s): Nature Form: ... Function: to depict a night that Gogh experienced Content: moon is stylized, as astronomical records indicate that the moon was waning gibbous at the time Van Gogh painted the picture; Context: After the self-mutilation of his left ear,ink Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Cross Cultural Connection(s):
120. The Starry Night Location: Artist: Vincent van Gogh Date: 1889 C.E. Culture: ... Period/Style: Late Europe/America Medium/Material: Oil on canvas Theme(s): Nature Form: ... Function: to depict a night that Gogh experienced Content: moon is stylized, as astronomical records indicate that the moon was waning gibbous at the time Van Gogh painted the picture; Context: After the self-mutilation of his left ear,ink Van Gogh voluntarily admitted himself to the Saint-Paul-de-Mausole lunatic asylum on 8 May 1889. Cross Cultural Connection(s):
126. Les Demoiselles d'Avignon Location: Artist: Pablo Picasso Date: 1907 C.E. Culture: ... Period/Style: Later Europe/Americas Medium/Material: Oil on canvas Theme(s): sensuality, nudity Form: Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine Function: ... Content: five nude female prostitutes from a brothel on Carrer d'Avinyó (Avinyó Street) in Barcelona Context: At the time of its first exhibition in 1916, the painting was deemed immoral Cross Cultural Connection(s):
126. Les Demoiselles d'Avignon Location: Artist: Pablo Picasso Date: 1907 C.E. Culture: ... Period/Style: Later Europe/Americas Medium/Material: Oil on canvas Theme(s): sensuality, nudity Form: Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine Function: ... Content: five nude female prostitutes from a brothel on Carrer d'Avinyó (Avinyó Street) in Barcelona Context: At the time of its first exhibition in 1916, the painting was deemed immoral Cross Cultural Connection(s):
138. Object (Le Dejeuner en fourrure) Location: ? Artist: Meret Oppenheim Date: 1936 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Fur, cup, saucer, spoon Theme(s): femininity Form: ... Function: ... Content: cup, saucer, and spoon covered in fur Context:The work, which originated in a conversation in a Paris cafe, is the most frequently-cited example of sculpture in the surrealist movement. It is also noteworthy as a work with challenging themes of femininity. Cross Cultural Connection(s):
138. Object (Le Dejeuner en fourrure) Location: ? Artist: Meret Oppenheim Date: 1936 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Fur, cup, saucer, spoon Theme(s): femininity Form: ... Function: ... Content: cup, saucer, and spoon covered in fur Context:The work, which originated in a conversation in a Paris cafe, is the most frequently-cited example of sculpture in the surrealist movement. It is also noteworthy as a work with challenging themes of femininity. Cross Cultural Connection(s):
142. The Jungle Location: Artist: Wilfredo Lam Date: 1943 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Gouache in paper mounted on canvas Theme(s): perception Form: disproportion among the shapes generates an uneasy balance between the composition's denser top and more open bottom Function: to depict a scene in the jungle Content: cluster of enigmatic faces, limbs, and sugarcane crowd a canvas that is nearly an 8 foot square Context: Lam was in Madrid and Paris, but in 1941 as Europe was engulfed by war, he returned to his native country. Though he would leave Cuba again for Europe after the war, key elements within his artistic practice intersected during this period Cross Cultural Connection(s):
142. The Jungle Location: Artist: Wilfredo Lam Date: 1943 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Gouache in paper mounted on canvas Theme(s): perception Form: disproportion among the shapes generates an uneasy balance between the composition's denser top and more open bottom Function: to depict a scene in the jungle Content: cluster of enigmatic faces, limbs, and sugarcane crowd a canvas that is nearly an 8 foot square Context: Lam was in Madrid and Paris, but in 1941 as Europe was engulfed by war, he returned to his native country. Though he would leave Cuba again for Europe after the war, key elements within his artistic practice intersected during this period Cross Cultural Connection(s):
145. Woman, I Location: ? Artist: Willem de Kooning Date: 1950-1952 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Oil on Canvas Theme(s): ... Form: threatening stare and ferocious grin are heightened by de Kooning's aggressive brushwork and frantic paint application Function: to depict the age-old cultural ambivalence between reverence for and fear of the power of the feminine Content: ampish females, knotted up in swathes of abstraction, took detours from earlier ladylike forms into a new and violent direction Context: De Kooning both distanced himself most clearly from his fellow abstract painters and expressed this figurative interests most memorably in his Woman paintings Cross Cultural Connection(s):
145. Woman, I Location: ? Artist: Willem de Kooning Date: 1950-1952 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Oil on Canvas Theme(s): ... Form: threatening stare and ferocious grin are heightened by de Kooning's aggressive brushwork and frantic paint application Function: to depict the age-old cultural ambivalence between reverence for and fear of the power of the feminine Content: ampish females, knotted up in swathes of abstraction, took detours from earlier ladylike forms into a new and violent direction Context: De Kooning both distanced himself most clearly from his fellow abstract painters and expressed this figurative interests most memorably in his Woman paintings Cross Cultural Connection(s):
161. Machu Picchu Location: Peru Artist: N/A Date: 1450-1540 C.E. Culture: Inka Period/Style: Medium/Material: granite Theme(s): authority, power Form: buildings built of stone with perfectly carved rock rendered in precise shapes and grooved together; thatched roofs; at the top, sacred pillar aligned with 4 gods with supreme importance to the Inka, also the center of the 4 mountains Function: royal retreat for the emperor Content: 200 buildings (mostly houses), temples, palaces, baths, astronomical observatory Context: people farmed on terraces, estate of 15th century Inkan rulers Cross Cultural Connection(s): Acropolis, Apadana/Audience Hall
161. Machu Picchu Location: Peru Artist: N/A Date: 1450-1540 C.E. Culture: Inka Period/Style: Medium/Material: granite Theme(s): authority, power Form: buildings built of stone with perfectly carved rock rendered in precise shapes and grooved together; thatched roofs; at the top, sacred pillar aligned with 4 gods with supreme importance to the Inka, also the center of the 4 mountains Function: royal retreat for the emperor Content: 200 buildings (mostly houses), temples, palaces, baths, astronomical observatory Context: people farmed on terraces, estate of 15th century Inkan rulers Cross Cultural Connection(s): Acropolis, Apadana/Audience Hall
167. Conical tower of Great Zimbabwe/ Circular wall of Great Zimbabwe Location: Southeastern Zimbabwe Artist: (attributed to ________________) Date: c. 1000 - 1400 C.E. Culture: Shona peoples Period/Style: ... Medium/Material: Coursed granite blocks Theme(s): power, royalty Form: great grain tower within the great enclosure Function: to store grains or other food supplies Content: tall tower that was laid in blocks that were not plastered together Context: Great Zimbabwe is a ruined city in the southeastern hills of Zimbabwe.
167. Conical tower of Great Zimbabwe/ Circular wall of Great Zimbabwe Location: Southeastern Zimbabwe Artist: (attributed to ________________) Date: c. 1000 - 1400 C.E. Culture: Shona peoples Period/Style: ... Medium/Material: Coursed granite blocks Theme(s): power, royalty Form: great grain tower within the great enclosure Function: to store grains or other food supplies Content: tall tower that was laid in blocks that were not plastered together Context: Great Zimbabwe is a ruined city in the southeastern hills of Zimbabwe.
168. Great Mosque of Djenne Location: Mali Artist: N/A Date: Founded: c. 1200 B.C.E.; rebuilt: 1906-1907 Culture: ... Period/Style: ... Medium/Material: Adobe Theme(s): worship Form: ectilinear in plan and is partly enclosed by an exterior wall Function: house of worship Content: roof covers the building, which is supported by monumental pillars. The roof has several holes covered by terra-cotta lids, which provide its interior spaces with fresh air even during the hottest days. The façade of the Great Mosque includes three minarets and a series of engaged columns that together create a rhythmic effect. (KA) Context: Djenné was founded between 800 and 1250 C.E., and it flourished as a great center of commerce, learning, and Islam, which had been practiced from the beginning of the 13th century.
168. Great Mosque of Djenne Location: Mali Artist: N/A Date: Founded: c. 1200 B.C.E.; rebuilt: 1906-1907 Culture: ... Period/Style: ... Medium/Material: Adobe Theme(s): worship Form: ectilinear in plan and is partly enclosed by an exterior wall Function: house of worship Content: roof covers the building, which is supported by monumental pillars. The roof has several holes covered by terra-cotta lids, which provide its interior spaces with fresh air even during the hottest days. The façade of the Great Mosque includes three minarets and a series of engaged columns that together create a rhythmic effect. (KA) Context: Djenné was founded between 800 and 1250 C.E., and it flourished as a great center of commerce, learning, and Islam, which had been practiced from the beginning of the 13th century.
169. Wall plaque, from Oba's Palace Location: Benin Kingdom (near Nigeria) Artist: Edo peoples Date: 16th century C.E. Culture: Benin Period/Style: 16th Century Benin Medium/Material: Cast brass Theme(s): Royalty, ceremony, authority Form: hierarchy of scale to show importance of figures in the plaque. medium-deep relief. Function: to depict an Oba and his attendants Content: central figure is an Oba because of his distinctive coral beaded regalia. Attendants hold shields above his head either to protect him from attack or possibly from the sun; a privilege only afforded to an Oba. Context: The plaque originally hung alongside many others on posts throughout the palace of the Oba. The order of their placement on these posts would have told the history of the royal lineage of Benin's Obas, who traced their dynasty all the way back to Oranmiyan, whose son was the first Oba of Benin.
169. Wall plaque, from Oba's Palace Location: Benin Kingdom (near Nigeria) Artist: Edo peoples Date: 16th century C.E. Culture: Benin Period/Style: 16th Century Benin Medium/Material: Cast brass Theme(s): Royalty, ceremony, authority Form: hierarchy of scale to show importance of figures in the plaque. medium-deep relief. Function: to depict an Oba and his attendants Content: central figure is an Oba because of his distinctive coral beaded regalia. Attendants hold shields above his head either to protect him from attack or possibly from the sun; a privilege only afforded to an Oba. Context: The plaque originally hung alongside many others on posts throughout the palace of the Oba. The order of their placement on these posts would have told the history of the royal lineage of Benin's Obas, who traced their dynasty all the way back to Oranmiyan, whose son was the first Oba of Benin.
170. Sika dwa kofi (Golden Stool) Location: s. Central Ghana Artist: Ashanti peoples Date: c. 1700 C.E. Culture: Ashanti Period/Style: ... Medium/Material: wooden stool covered in gold w/ cast-gold attachments Theme(s): sacrosanct symbols/objects Form: golden figure bent into a
170. Sika dwa kofi (Golden Stool) Location: s. Central Ghana Artist: Ashanti peoples Date: c. 1700 C.E. Culture: Ashanti Period/Style: ... Medium/Material: wooden stool covered in gold w/ cast-gold attachments Theme(s): sacrosanct symbols/objects Form: golden figure bent into a "stool" shape with golden attachments (bells, etc.) Function: to be a symbol of the Ashanti nation Content: a curved seat 46 cm high with a platform 61 cm wide and 30 cm deep; entire surface inlaid with gold, and hung with bells to warn the king of impending danger; stool Context: Osei Tutu: first king of united Ashanti confederacy; said to be made in the heavens; so sacred that it could never touch the ground, be sat on, or touched (except by the king)
171. Ndop (portrait figure) of King Mishe miShyaang maMbul Location: Democratic Republic of the Congo Artist: ? Date: c. 1760-1780 C.E. Culture: Kuba peoples Period/Style: Medium/Material: Wood Theme(s): authoritative position, spiritual presence Form: position shows a relaxed being in a higher position than others. Idealistic depiction of King's spiritual being. Function: took the place of the king in his absence Content: male figure with a large head (represent knowledge), headwear, holding probably a cup, symbol marking on the base Context: created after king's passing. earliest African wood sculpture and ndop in existence. Kept in king's shrine along with other
171. Ndop (portrait figure) of King Mishe miShyaang maMbul Location: Democratic Republic of the Congo Artist: ? Date: c. 1760-1780 C.E. Culture: Kuba peoples Period/Style: Medium/Material: Wood Theme(s): authoritative position, spiritual presence Form: position shows a relaxed being in a higher position than others. Idealistic depiction of King's spiritual being. Function: took the place of the king in his absence Content: male figure with a large head (represent knowledge), headwear, holding probably a cup, symbol marking on the base Context: created after king's passing. earliest African wood sculpture and ndop in existence. Kept in king's shrine along with other "royal charms" Cross Cultural Connection(s): Stele of Hammurabi, Tutankhamun's tomb innermost coffin
172. Power figure (Nkisi n'kondi) Location: Democratic Republic of the Congo Artist: ? Date: c. late 19th century C.E. Culture: Kuba peoples Period/Style: ... Medium/Material: Wood & metal Theme(s): ... Form: it stands with its legs spread and its hands on its hips or behind it. This is a stance of readiness, poised for action. A rectangular container, which holds the figure's powerful medicines is attached to its belly Function: for clients to approach, seeking solutions to problems or resolutions to disputes Content: large, almond-shaped eyes, a broad nose with flaring nostrils, and a full-lipped mouth. The eyes are made of mirror glass, through which one can see, but which also casts back a reflection, the eyes embody the notion of passing back and forth between the spirit and human worlds (arts connected) Context: The Kongo peoples live in southwestern Zaire and Angola. In a few traditional Kongo villages a religious specialist, who is also a healer and a legal expert, takes care of the spiritual and physical needs of the villagers with the assistance of a powerful carved figure, called ankisi nkondi. Popularly known as nail figures, these sculptures were used for a wide variety of purposes, including to protect the village, to prove guilt or innocence, to heal the sick, to end disasters, to bring revenge, and to settle legal disputes. (arts connected) Cross Cultural Connection(s): statues of votive figures, voodoo dolls
172. Power figure (Nkisi n'kondi) Location: Democratic Republic of the Congo Artist: ? Date: c. late 19th century C.E. Culture: Kuba peoples Period/Style: ... Medium/Material: Wood & metal Theme(s): ... Form: it stands with its legs spread and its hands on its hips or behind it. This is a stance of readiness, poised for action. A rectangular container, which holds the figure's powerful medicines is attached to its belly Function: for clients to approach, seeking solutions to problems or resolutions to disputes Content: large, almond-shaped eyes, a broad nose with flaring nostrils, and a full-lipped mouth. The eyes are made of mirror glass, through which one can see, but which also casts back a reflection, the eyes embody the notion of passing back and forth between the spirit and human worlds (arts connected) Context: The Kongo peoples live in southwestern Zaire and Angola. In a few traditional Kongo villages a religious specialist, who is also a healer and a legal expert, takes care of the spiritual and physical needs of the villagers with the assistance of a powerful carved figure, called ankisi nkondi. Popularly known as nail figures, these sculptures were used for a wide variety of purposes, including to protect the village, to prove guilt or innocence, to heal the sick, to end disasters, to bring revenge, and to settle legal disputes. (arts connected) Cross Cultural Connection(s): statues of votive figures, voodoo dolls
173. Portrait Mask (Mblo) Location: Côte d'Ivoire Artist: ? Date: Late 19th-20th century C.E. Culture: Baule peoples Period/Style: ... Medium/Material: wood and pigment Theme(s): entertainment Form: crowned with a fantastical series of wild-animal horns; departure from a rigidly symmetrical representation suggests an individual physiognomy/expression (met) Function: appeared as the final sequence of an operatic public entertainment known as Mblo (met) Content: diversity is often apparent in imaginative decorative passages extending above the face (horns); broad forehead and downcast eyes are classic features associated with intellect and respect (met) Context: Mblo performances consist of a succession of dances that escalate in complexity and importance, culminating ultimately in tributes to the community's most distinguished member. Individuals honored in this way are depicted by a mask that is conceived of as their artistic double or namesake. (Metro Museum) Cross Cultural Connection(s): Camelid sacrum in the shape of a canine, masquerades
173. Portrait Mask (Mblo) Location: Côte d'Ivoire Artist: ? Date: Late 19th-20th century C.E. Culture: Baule peoples Period/Style: ... Medium/Material: wood and pigment Theme(s): entertainment Form: crowned with a fantastical series of wild-animal horns; departure from a rigidly symmetrical representation suggests an individual physiognomy/expression (met) Function: appeared as the final sequence of an operatic public entertainment known as Mblo (met) Content: diversity is often apparent in imaginative decorative passages extending above the face (horns); broad forehead and downcast eyes are classic features associated with intellect and respect (met) Context: Mblo performances consist of a succession of dances that escalate in complexity and importance, culminating ultimately in tributes to the community's most distinguished member. Individuals honored in this way are depicted by a mask that is conceived of as their artistic double or namesake. (Metro Museum) Cross Cultural Connection(s): Camelid sacrum in the shape of a canine, masquerades
173. Female (Pwo) mask Location: Democratic Republic of the Congo Artist: ? Date: Late 19th-20th century C.E. Culture: Chokwe peoples Period/Style: ... Medium/Material: thin wood, fiber, pigment, and metal Theme(s): spirituality, fertility, birth Form: mouth and eyes closed, deep red mask, kaolin (white powder connected to spiritual realm), circles Function: danced/walked (gracefully); men honors founding female ancestors; often performed at the celebrations that mark the completion of initiation into adulthood Content: eyes are abstractly large, symmetrical face, narrow chin, broad face and forehead Context: men that honored women in Chokwe society that were young and gave birth Cross Cultural Connection(s): ...
173. Female (Pwo) mask Location: Democratic Republic of the Congo Artist: ? Date: Late 19th-20th century C.E. Culture: Chokwe peoples Period/Style: ... Medium/Material: thin wood, fiber, pigment, and metal Theme(s): spirituality, fertility, birth Form: mouth and eyes closed, deep red mask, kaolin (white powder connected to spiritual realm), circles Function: danced/walked (gracefully); men honors founding female ancestors; often performed at the celebrations that mark the completion of initiation into adulthood Content: eyes are abstractly large, symmetrical face, narrow chin, broad face and forehead Context: men that honored women in Chokwe society that were young and gave birth Cross Cultural Connection(s): ...
175. Bundu mask Location: W. African forests of Sierra Leone and Liberia Artist: ? Date: 19th-20th century C.E. Culture: Mende peoples, Sande Society Period/Style: Medium/Material: Wood, cloth, and fiber Theme(s): Form: gleaming surface signifies healthy, glowing skin, swelling fleshy rolls alternating with deep incised lines at the neck or back of the head are considered marks of beauty and a promise of fecundity (fertility). (randafricanart) Function: worn exclusively by women during rituals Content: ideal of feminine beauty admired by the Mende: elaborate hairstyle, full forehead and small facial features Context: With this confining mask, the wearer (who has to be a good dancer and an official of the Sande) puts on a thick cotton costume covered with heavy fibre strands dyed black. Her dances may last for over two hours. The sacredness of the mask lies in its deeper meaning as a representation of the long deceased founder of Sande society Cross Cultural Connection(s): ...
175. Bundu mask Location: W. African forests of Sierra Leone and Liberia Artist: ? Date: 19th-20th century C.E. Culture: Mende peoples, Sande Society Period/Style: Medium/Material: Wood, cloth, and fiber Theme(s): Form: gleaming surface signifies healthy, glowing skin, swelling fleshy rolls alternating with deep incised lines at the neck or back of the head are considered marks of beauty and a promise of fecundity (fertility). (randafricanart) Function: worn exclusively by women during rituals Content: ideal of feminine beauty admired by the Mende: elaborate hairstyle, full forehead and small facial features Context: With this confining mask, the wearer (who has to be a good dancer and an official of the Sande) puts on a thick cotton costume covered with heavy fibre strands dyed black. Her dances may last for over two hours. The sacredness of the mask lies in its deeper meaning as a representation of the long deceased founder of Sande society Cross Cultural Connection(s): ...
176. Ikenga (shrine figure) Location: Nigeria Artist: ? Date: c. 19th-20th century C.E. Culture: Ibgo peoples Period/Style: ... Medium/Material: Wood Theme(s): shrine/
176. Ikenga (shrine figure) Location: Nigeria Artist: ? Date: c. 19th-20th century C.E. Culture: Ibgo peoples Period/Style: ... Medium/Material: Wood Theme(s): shrine/"good luck charm" Form: community ikenga (cylindrical) Function: used in male cults that address the powers, successes, and failures of an individual; dedicated and consecrated to artist's personal strength, success, and accomplishments, and sometimes as well to their protection Content: Sharp horns; some straight, others spiraled, others fancifully curved and elaborated with perching animals. All are commonly referred to as ram horns, even though they often do not resemble them. All animal horns are power symbols, an identification with a specific animal hardly seems imperative for it is animalistic aggression. (randafricanart) Context: Ikenga is specially found among the Northern Igbos of Anambra, Enugu, Delta and some parts of Kogi State. It is exclusively an *Igbo* symbol. Nevertheless, various peoples of Southern Nigeria have slightly different notions of the components of an individual personality, but all agree that these various aspects can only be affected through ritual and personal effort. Cross Cultural Connection(s): ...
177. Lukasa (memory board) Location: Democratic Republic of the Congo Artist: ? Date: c. 19th-20th century C.E. Culture: Luba peoples, Mbudye Society Period/Style: ... Medium/Material: wood, beads, metal Theme(s): memory, records, Form: row of carved mounds called lukala runs across their concave surface, dividing it in half. Beads and shells are attached to the board by small slivers of wood or hand-made iron wedges driven through their centers, and cowrie shells are frequently attached at the top and bottom; hourglass-shaped wooden tablet Function: bana balute (
177. Lukasa (memory board) Location: Democratic Republic of the Congo Artist: ? Date: c. 19th-20th century C.E. Culture: Luba peoples, Mbudye Society Period/Style: ... Medium/Material: wood, beads, metal Theme(s): memory, records, Form: row of carved mounds called lukala runs across their concave surface, dividing it in half. Beads and shells are attached to the board by small slivers of wood or hand-made iron wedges driven through their centers, and cowrie shells are frequently attached at the top and bottom; hourglass-shaped wooden tablet Function: bana balute ("men of memory") run their fingertips across the surface of a lukasa or point to its features while reciting genealogies, king lists, maps of protocol, migration stories, etc.; archive for the topographical and chronological mapping of political histories and other data sets Content: ... Context: hand-held wooden objects that present a conceptual map of fundamental aspects of Luba culture; sophisticated memory device that was created, manipulated and protected by the Bambudye, a once powerful secret society of the Luba Cross Cultural Connection(s):
178. Aka elephant mask Location: Cameroon, western grass fields region Artist: ? Date: c. 19th-20th century C.E. Culture: Bamileke Period/Style: ... Medium/Material: Wood, woven raffia, cloth, beads Theme(s): ritual, honor of elephants, ... Form: comprise cloth panels and hoods woven from plantain fiber over raffia. On this background multicolored beads are stitched in geometric patterns. Function: Maskers dance barefoot in these colorful costumes to a drum and gong, moving slowly as they wave poles with blue and white beaded tips trimmed with horsehair while whistling
178. Aka elephant mask Location: Cameroon, western grass fields region Artist: ? Date: c. 19th-20th century C.E. Culture: Bamileke Period/Style: ... Medium/Material: Wood, woven raffia, cloth, beads Theme(s): ritual, honor of elephants, ... Form: comprise cloth panels and hoods woven from plantain fiber over raffia. On this background multicolored beads are stitched in geometric patterns. Function: Maskers dance barefoot in these colorful costumes to a drum and gong, moving slowly as they wave poles with blue and white beaded tips trimmed with horsehair while whistling "mysteriously and tunelessly," Content: long trunk and large ears, hood fits tightly over the masker's head, two hanging panels, one behind and one in front, partially concealing the body. Front panel is the elephant trunk, and the two large, stiff circles hinged to either side of the head are its ears, which flap as the masker dances. While the mask symbolizes an elephant, the face is human. Eyeholes provide visibility, and a nose and mouth with teeth are normally present. Context: "...elephant masks, while rare in Africa, are fully appropriate symbols of important leaders or, at least, their respected deputies or messengers. The societies that use these masks in fact act as agents of chiefs' control and as formal royal emissaries." (randafricanart) Cross Cultural Connection(s): ...
179. Reliquary figure (nlo bieri) Location: southern Cameroon Artist: Fang peoples Date: c. 19th-20th century C.E. Culture: ... Period/Style: ... Medium/Material: wood Theme(s): tranquillity, vitality, and the ability to hold opposites in balance Form: accentuated head, toned muscles, eyes (probably) closed Function: mounted on top of each reliquary box guarded the sacred contents against the forbidden gaze of women and uninitiated boys Content: ... Context: a widespread belief in the spiritual power of ancestral relics among Bantu peoples underlay the creation of remarkable works of art (met museum) Cross Cultural Connection(s):
179. Reliquary figure (nlo bieri) Location: southern Cameroon Artist: Fang peoples Date: c. 19th-20th century C.E. Culture: ... Period/Style: ... Medium/Material: wood Theme(s): tranquillity, vitality, and the ability to hold opposites in balance Form: accentuated head, toned muscles, eyes (probably) closed Function: mounted on top of each reliquary box guarded the sacred contents against the forbidden gaze of women and uninitiated boys Content: ... Context: a widespread belief in the spiritual power of ancestral relics among Bantu peoples underlay the creation of remarkable works of art (met museum) Cross Cultural Connection(s):
180: Veranda post: equestrian figure and female caryatid Location: ? Artist: Olowe of Ise Date: before 1938 C.E Culture: Yoruba peoples, Ekiti group Period/Style: ... Medium/Material: wood & pigment Theme(s): marriage importance (first wife), hierarchy of scale Form: an equestrian warior, is depicted frontally above a female caryatid with arms raised in three-quarter view; first wife is larger than other 2 Function: designed for the exterior courtyard of a Yoruba palace Content: mounted warrior holds a spear and pistol in either hand, and his vest, saddle, and horse's headgear are articulated through deeply carved linear motifs Context: In Yoruba art such equestrian figures identify their patrons with martial conquest achieved through physical might. Cross Cultural Connection(s):
180: Veranda post: equestrian figure and female caryatid Location: ? Artist: Olowe of Ise Date: before 1938 C.E Culture: Yoruba peoples, Ekiti group Period/Style: ... Medium/Material: wood & pigment Theme(s): marriage importance (first wife), hierarchy of scale Form: an equestrian warior, is depicted frontally above a female caryatid with arms raised in three-quarter view; first wife is larger than other 2 Function: designed for the exterior courtyard of a Yoruba palace Content: mounted warrior holds a spear and pistol in either hand, and his vest, saddle, and horse's headgear are articulated through deeply carved linear motifs Context: In Yoruba art such equestrian figures identify their patrons with martial conquest achieved through physical might. Cross Cultural Connection(s):
192. The Great Stupa Location: Madhya Pradesh, India Artist: Ashoka the Great (commissioner) Date: 300 BCE - 100 CE Culture: ... Period/Style: Maurya, late Sunga Dynasty Medium/Material: Stone masonry, sandstone on dome. Theme(s): Worship Form: mound shaped, faced with dressed stone. Double stairway that leads from base to drum where a walkway for circumambulation Function: sculptural monument, worship, burial Content: three umbrellas representing Buddha; Hemispherical dome, Tyranna, Buddha does not show himself, but shows an empty throne/tree Context: Built in the birthplace of Ashoka's wife Cross Cultural Connection(s):
192. The Great Stupa Location: Madhya Pradesh, India Artist: Ashoka the Great (commissioner) Date: 300 BCE - 100 CE Culture: ... Period/Style: Maurya, late Sunga Dynasty Medium/Material: Stone masonry, sandstone on dome. Theme(s): Worship Form: mound shaped, faced with dressed stone. Double stairway that leads from base to drum where a walkway for circumambulation Function: sculptural monument, worship, burial Content: three umbrellas representing Buddha; Hemispherical dome, Tyranna, Buddha does not show himself, but shows an empty throne/tree Context: Built in the birthplace of Ashoka's wife Cross Cultural Connection(s):
193. Terracotta Warriors Location: from mausoleum of the first Qin emperor of China Artist: Date: c. 221-209 BCE Culture: Period/Style: Qin Dynasty Medium/Material: Painted terracotta Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
193. Terracotta Warriors Location: from mausoleum of the first Qin emperor of China Artist: Date: c. 221-209 BCE Culture: Period/Style: Qin Dynasty Medium/Material: Painted terracotta Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
194. Funeral banner of Lady Dai (Xin Zhui) Location: Artist: Date: 180 BCE Culture: Period/Style: Han Dynasty Medium/Material: Painted silk Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
194. Funeral banner of Lady Dai (Xin Zhui) Location: Artist: Date: 180 BCE Culture: Period/Style: Han Dynasty Medium/Material: Painted silk Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
195. Longmen Caves Location: Luoyang, China Artist: Date: 493-1127 CE Culture: Period/Style: Tang Dynasty Medium/Material: Limestone Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
195. Longmen Caves Location: Luoyang, China Artist: Date: 493-1127 CE Culture: Period/Style: Tang Dynasty Medium/Material: Limestone Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
196. Gold and Jade Crown Location: Silla Kingdom, Korea Artist: Date: 5th to 6th Century CE Culture: Period/Style: Three Kingdoms Period Medium/Material: Metalwork Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
196. Gold and Jade Crown Location: Silla Kingdom, Korea Artist: Date: 5th to 6th Century CE Culture: Period/Style: Three Kingdoms Period Medium/Material: Metalwork Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
197. Todai-Ji Location: Nara, Japan Artist: Various artists, including sculptors Unkei and Keikei, as well as the Kei School Date: 743 CE. Rebuilt c.1700; gate: 743 CE. Rebuilt in 962 Culture: Period/Style: Medium/Material: Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture); gate: wood Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
197. Todai-Ji Location: Nara, Japan Artist: Various artists, including sculptors Unkei and Keikei, as well as the Kei School Date: 743 CE. Rebuilt c.1700; gate: 743 CE. Rebuilt in 962 Culture: Period/Style: Medium/Material: Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture); gate: wood Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
198. Borobudur Temple Location: Central Java, Indonesia Artist: Date: c. 750-842 CE. Culture: Period/Style: Sailendra Dynasty Medium/Material: Volcanic Stone Masonry Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
198. Borobudur Temple Location: Central Java, Indonesia Artist: Date: c. 750-842 CE. Culture: Period/Style: Sailendra Dynasty Medium/Material: Volcanic Stone Masonry Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
199. Angkor, temple of Angkor Wat Location: City of Angkot Thom, Cambodia Artist: Date: c. 800-1400 CE. Culture: Hindu Period/Style: Angkor Dynasty Medium/Material: Stone masonry, sandstone. Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
199. Angkor, temple of Angkor Wat Location: City of Angkot Thom, Cambodia Artist: Date: c. 800-1400 CE. Culture: Hindu Period/Style: Angkor Dynasty Medium/Material: Stone masonry, sandstone. Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
200. Lakshmana Temple Location: Khajuraho, India Artist: Date: 930-950 CE Culture: Period/Style: Chandella Dynasty Medium/Material: Sandstone Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
200. Lakshmana Temple Location: Khajuraho, India Artist: Date: 930-950 CE Culture: Period/Style: Chandella Dynasty Medium/Material: Sandstone Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
201. Travelers Among Mountains and Streams Location: Khajuraho, India Artist: Fan Kuan Date: c. 1000 CE Culture: Period/Style: Chandella Dynasty Medium/Material: Ink on silk 6.75 ft x 2.5 ft. Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
201. Travelers Among Mountains and Streams Location: Khajuraho, India Artist: Fan Kuan Date: c. 1000 CE Culture: Period/Style: Chandella Dynasty Medium/Material: Ink on silk 6.75 ft x 2.5 ft. Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
202. Shiva as Lord of Dance (Nataraja) Location: Hindu; India (Tamil Nadu) Artist: Date: c. 11th century CE Culture: Period/Style: Chola Dynasty Medium/Material: cast bronze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
202. Shiva as Lord of Dance (Nataraja) Location: Hindu; India (Tamil Nadu) Artist: Date: c. 11th century CE Culture: Period/Style: Chola Dynasty Medium/Material: cast bronze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
203. Night Attack on the Sanjô Palace Location: Japan Artist: Date: c.1250-1300 CE. Culture: Period/Style: Kamakura period Medium/Material: Handscroll (ink and color on paper) Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
203. Night Attack on the Sanjô Palace Location: Japan Artist: Date: c.1250-1300 CE. Culture: Period/Style: Kamakura period Medium/Material: Handscroll (ink and color on paper) Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
204. The David Vases Location: Artist: Date: c. 1351 CE Culture: Period/Style: Yuan Dynasty Medium/Material: White porcelain with cobalt-blue underglaze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
204. The David Vases Location: Artist: Date: c. 1351 CE Culture: Period/Style: Yuan Dynasty Medium/Material: White porcelain with cobalt-blue underglaze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
205. Portrait of Sin Sukju (1417-1475) Location: Imperial Bureau of Painting Artist: Date: c.15th century CE Culture: Period/Style: Medium/Material: Hanging scroll (ink and color on silk) underglaze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
205. Portrait of Sin Sukju (1417-1475) Location: Imperial Bureau of Painting Artist: Date: c.15th century CE Culture: Period/Style: Medium/Material: Hanging scroll (ink and color on silk) underglaze Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
206. The Forbidden City Location: Beijing, China Architect: plotted by Zhu Di, a YongLe emperor Date: started in 1406, ended in 1420 Culture: Chinese Period/Style: Chinese Architecture (Ming Dynasty) Medium/Material: stone from Fangshang, timber and stone transported on ice, white lime and glutinous rice (walls), cement is made from glutinous rice and egg whites Theme(s): power, change, hierarchy Form: red walls and yellow glazed roof tiles, a micro-city , measures 961 meters in length and 753 meters in width; more than 90 palace compounds including 98 buildings and surrounded by a moat as wide as 52 meters; 15 layer pathways Function: political and ritual center of China for over 500 years Content: 9,999 rooms, outer court has five halls used for ceremonial purposes and other official business; lots of yellow, to represent the connection to the element of earth; Hall of Supreme Harmony has a dragon, phoenix, lion, heavenly steed, sea horse, Suan ní, ziè jhì, Dòuniú, and zíng shén Context: The number
206. The Forbidden City Location: Beijing, China Architect: plotted by Zhu Di, a YongLe emperor Date: started in 1406, ended in 1420 Culture: Chinese Period/Style: Chinese Architecture (Ming Dynasty) Medium/Material: stone from Fangshang, timber and stone transported on ice, white lime and glutinous rice (walls), cement is made from glutinous rice and egg whites Theme(s): power, change, hierarchy Form: red walls and yellow glazed roof tiles, a micro-city , measures 961 meters in length and 753 meters in width; more than 90 palace compounds including 98 buildings and surrounded by a moat as wide as 52 meters; 15 layer pathways Function: political and ritual center of China for over 500 years Content: 9,999 rooms, outer court has five halls used for ceremonial purposes and other official business; lots of yellow, to represent the connection to the element of earth; Hall of Supreme Harmony has a dragon, phoenix, lion, heavenly steed, sea horse, Suan ní, ziè jhì, Dòuniú, and zíng shén Context: The number "9" was special to emperors, because it is the highest value ordinal. Additionally, the Chinese word for nine, 'jiu', is a homonym for 'long' or 'lengthy'; because the Forbidden City was on Earth, it was impossible to have 10,000 rooms, which would conflict with the number of rooms in the version found in Heaven because the number 10,000 symbolizes infinity.
207. Ryoan-ji Location: Kyoto, Japan Artist: Date: c.1480 CE.; current design most likely dates to the 18th century Culture: Period/Style: Muromachi Period Medium/Material: Rock garden Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
207. Ryoan-ji Location: Kyoto, Japan Artist: Date: c.1480 CE.; current design most likely dates to the 18th century Culture: Period/Style: Muromachi Period Medium/Material: Rock garden Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
208. Jahangir Preferring a Sufi Shaikh to Kings Location: Bichitr Artist: Date: c.1480 CE.; current design most likely dates to the 18th century Culture: Period/Style: Medium/Material: Watercolor, gold and ink on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
208. Jahangir Preferring a Sufi Shaikh to Kings Location: Bichitr Artist: Date: c.1480 CE.; current design most likely dates to the 18th century Culture: Period/Style: Medium/Material: Watercolor, gold and ink on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
209. Taj Mahal Location: Agra, India Artist: Date: 1653 Culture: Period/Style: Medium/Material: Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
209. Taj Mahal Location: Agra, India Artist: Date: 1653 Culture: Period/Style: Medium/Material: Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
210. White and Red Plum Blossoms Location: Artist: Ogata Korin Date: c. 1710-1716 CE Culture: Period/Style: Medium/Material: Ink, watercolor, and gold leaf on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
210. White and Red Plum Blossoms Location: Artist: Ogata Korin Date: c. 1710-1716 CE Culture: Period/Style: Medium/Material: Ink, watercolor, and gold leaf on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji Location: Artist: Katsushika Hokusai Date: c. 1830-1833 CE Culture: Period/Style: Medium/Material: Polychrome woodblock print; ink and color on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji Location: Artist: Katsushika Hokusai Date: c. 1830-1833 CE Culture: Period/Style: Medium/Material: Polychrome woodblock print; ink and color on paper Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
212. Chairman Mao en Route to Anyuan Artist: unknown Date: c. 1969 Culture: Period/Style: Medium/Material: Color lithograph Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
212. Chairman Mao en Route to Anyuan Artist: unknown Date: c. 1969 Culture: Period/Style: Medium/Material: Color lithograph Theme(s): Form: Function: Content: Context: Cross Cultural Connection(s):
230. Pink Panther Location: ... Artist: Jeff Koons Date: 1988 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Glazed porcelain Theme(s): ... Form: ... Function: depicts a smiling, bare-breasted, blond woman scantily clad in a mint-green dress, head tilted back and to the left as if addressing a crowd of onlookers Content: Jayne Mansfield, with one hand covering a breast bared by a garment that has slipped down—a predicament for which Mansfield was notorious. The stuffed Pink Panther she clutches with her other hand is cheekily extending his tail toward the waistband of her skirt Context: part of Koons's Banality series, a group of twenty sculptures that draws on both popular culture and mass-market knickknacks Cross Cultural Connection(s):
230. Pink Panther Location: ... Artist: Jeff Koons Date: 1988 C.E. Culture: ... Period/Style: Later Europe/America Medium/Material: Glazed porcelain Theme(s): ... Form: ... Function: depicts a smiling, bare-breasted, blond woman scantily clad in a mint-green dress, head tilted back and to the left as if addressing a crowd of onlookers Content: Jayne Mansfield, with one hand covering a breast bared by a garment that has slipped down—a predicament for which Mansfield was notorious. The stuffed Pink Panther she clutches with her other hand is cheekily extending his tail toward the waistband of her skirt Context: part of Koons's Banality series, a group of twenty sculptures that draws on both popular culture and mass-market knickknacks Cross Cultural Connection(s):