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  • Imperial power and Christian glory

Midterm20121 Midterm20121 Presentation Transcript

  • Mid-term Study Slides 1 2012
  • Babylonian ArtStele of Hammurabi• 300 law codes at bottom• Punishments depend on social standing• Earliest body of laws in existence• Hammurabi standing saluting god Shamash• Hammurabi rules with the permission of the god• Shamash hands the code to him• Divinely inspired law• Shamash has a coil-shaped crown, an extremely long beard and flames (wings?) coming from his back• Cuneiform
  • Audience Hall at Persepolis (c. 500 BCE)
  • Note the impression of cylindrical volume (perhaps influenced ordone by Ionian Greeks)from Persepolis
  • Funerary Temple of Hatshepsut
  • Queen (Pharoah) Hatsepshut(c. 1495 BCE)
  • Minoan Bull-Jumping Fresco
  • Helmet The crested helmet with a floral design immediately marks this archer as foreign. The helmet is of Scythian or persian design, but to Greek artists, less concerned with historical accuracy, it servedto conjure a Trojan warrior from theHair Holes left in the marble indicate eastwhere the statue hadaccrouterments, like the fringe of hairframing the forehead and spilling from Face Dark Paint marking brows and eyelids gives athe helmet. These were originally lively, alert expression. The Temple of Aphaia was builtmodelled in lead, malleable enough to between Greece’s archaic and classical periods. The archercapture flowing locks. retains the so-called archaic smile, yet his pose and the modeling’s subtle realism look to the coming age. Vest Incised lines, visible underBow and Arrow The bow was rakinglight, served as guides for the lions andoriginally made of marble and griffins. Coloring was determined by traces ofbronze, the arrows of colored pigment but also by variations in the stone’sbronze and gilded tips. The weathering. Durable vermillion protects stoneshape of the missing bow has longer than does fragile yellow ochre, forbeen reconstructed in part by example.using images from Greekvases.Trousers The harlequinlikediamond pattern appears underultraviolet light. The artistcaptured the fabric’s elasticity byhaving the diamonds stretch andcompress at points – as on the Crouching Pose Battle scenes were commonbent knee – to reflect at he awkward triangular spaces on themovement. temple pediments. The crouching pose filled in the midpoint between apex and corner, while a fallen warrior occupied the narrowest space. Greek Archaic Sculpture
  • Kritios Boyc. 480 BCE
  • •Disheveled, aged and weary•Wrinkled face, saggy fleshand bent body•Represents a specificmoment in her journey•Naturalistic and immediatedepiction•Hellenisitic time is morecosmopolitan•More interest in diversityand observations of humanexperience•Less interest in perfect orderand idealization, timelessvision of youthOld Market Woman1st century CE
  • Ara Pacis c. 13 – 19 BCE
  • Atrium, House of the Silver Wedding
  • Ixion Room•Fresco, linear perspective, atmosphericperspective•Foreshortening•Ixion murdered his father-in-law and plannedto seduce Hera•Zeus struck him with a thunderbolt andordered him to be tied to a wheel in hell•Scheme of red and white fields•On bottom painted to resemble marble slabs•On top, architectural vistas that do not alignto a single viewpoint•Thin delicate motifs alternate with framedmythological scenes
  • Flavian Amphitheatre
  • Flavian Amphitheatre, 80 CE
  • Basilica of Santa Sabina, Rome, c. 432 C.E.
  • Arch of Constantine, c. 315 CE
  • Trier, Basilica of Constantine (audience hall)
  • Audience Hall of Constantine at Trier, early 4th century
  • Sarcophagi of Junius Bassus, c. 359 CE
  • Hagia Sophia
  • Hagia Sophia
  • The Alhambra, 1338 - 1390