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Egyptian Images of RulershipArt in service of social hie.docx
- 1. Egyptian Images of Rulership Art in service of social hierarchy - architecture as a vehicle for stressing hierarchical social distinctions. Visual arts as a means of rendering a narrative – hymn- into an understandable statement of religious hierarchy – gods, supermen, humanity Ancient Near East, Mesopotamia, Uruk, White Temple, 3200 BCE Ancient Near East, Mesopotamia, Uruk, Warka Vase, 3200 BCE Iconographies of height and of materials Similarities and Differences Egypt, Palette of Narmer, Predynastic, Egypt, 3000 BCE Ancient Near East, Mesopotamia, Uruk , Warka Vase, 3200 BCE Hieratic compositions The concept of balance. Order and chaos in harmony – the role of the ruler Egypt, Imhotep, Saqqara, Pyramid of Djoser, 3Old Kingdom, 3rd dynasty, 2630 BCE Comparison of the Nile and the Tigris-Euphrates system
- 2. Djoser’s Stepped Pyramid and the notion of eternal order. The responsibility of the ruler’s ka Egypt, Imhotep, Saqqara, Djoser’s Stepped Pyramid, Old Kingdom, 3rd Dynasty, 2630 BCE Imhotep, Saqqara, Djoser’s Stepped Pyramid, 2630 BCE Complex, Old Kingdom, 3rd Dynasty Continuity, abstraction of forms to carry meanings Egypt, Gizeh, Great Pyramids, Old Kingdom, 4th Dynasty, 2551 – 2472 BCE Egypt, Gizeh, Sphinx, Khafre portrait, Old Kingdom, 4th Dynasty, 2520 BCE Iconography expressed in forms Reality through the lens of idealization – the human rendered as divine Egypt, Gizeh, Ka Statue of Khafre, Old Kingdom, 4th Dynasty, 2520 BCE Egypt, Gizeh, Ka statue of Khafre, Old Kingdom, 4th Dynasty,2520 BCE Iconography expressed in attributes Contexts for abstraction versus reality. Egypt, Gizeh, Ka statue of Khafre, Old Kingdom, 4th Dynasty, 2520 BCE
- 3. Egypt, Saqqara, Scribe’s Ka statue, Old Kingdom, 4th Dynasty, 2500 BCE Contrasting emphases in the compositions that carry iconographic meanings Innovation? Experimentation? Challenge? Egypt, Karnak, Colossal Akhenaton from Temple of Aton, New Kingdom, 18th Dynasty, 1353 BCE Thutmose, Bust of Nefertiti from artist’s workshop at tell el- Amarna, New Kingdom, 18th Dynasty, 1353 BCE Breaking the pattern Mesopotamia, Uruk, Warka Vase, 3200 BCE Mesopotamia, Stele of Naram-Sin, 2254 BCE The Minoan Discovery of the Landscape Experimentation Aegean and Crete and Minoans Aegean Sea Crete, Knossos, palace structure?, 1370 BCE Greeks and the memory of the Minoan World – Minos, Minotaur, Labyrinth, Knossos
- 4. Knossos, reality and reconstruction Crete, Knossos, palace? remains, 1370 BCE Crete, Knossos reconstructions – Sir Arthur Evans, early 20th C. CE What do we know – Linear A and B, the Greek stories of Theseus, the Egyptian New Kingdom tomb paintings, the archaeology The composition of Knossos and the archaeological findings Crete, Knossos and the landscape Crete, Knossos, palace? parts – courtyard, large halls, small spaces, Landscape and meaning versus function and purpose. An urban world? Made rich how? Knossos, creation of the public , ceremonial space Reconstruction of palace? At Knossos Reconstruction of the ceremonial west side, roles of staircases, balconies, and single columns Knossos, palace? main courtyard Reconstruction of the courtyard Crete, Knossos, palace? decoration Bull-leaping fresco, 1500
- 5. BCE Knossos, palace? creation of small, intimate spaces “Throne or Libation” Room, west side, 1370 BCE Eastside stair, light, and air well, 1370 BCE Role of light, response to climate, the limitations of building materials, columns Knossos, the role of movement Crete, palace? at Knossos, interior decoration east side, Dolphin fresco, 15th C BCE? Crete, Palaikastro, palace? Marine-style octopus vase, 150 BCE The discovery of the power of the human story Part 2 For Friday, October 5 assignment – Groups 17, 18, 19, and 20 First Essay examination opens Friday, October 5 at 1 pm and closes on Friday, October 12 at noon. Finished forms of the masculine human body – a body encoded
- 6. with meaning Metopes – Lapiths and Centaurs Frieze-Cavalcade of Athenian citizen riders Source for the human form, exploration of the male body, the creation of the ideal man possessing arête earned through successful competition - agon New York Kouros, 600 BCE Anavysos Kouros, 530 BCE Cleobis and Biton, 550 BCE Discovery of the power of the temporal – contrapposto and the momentary, the human side of the ideal Athens, Kritios Boy, 480 BCE Riace Warrior, 450 BCE Stories – stories of mortals. The discovery of the visual power of the narrative – black figure artists. Athens, Dipylon Vase, 750 BCE Athens, Exekias, Achilles and Ajax playing dice, Black Figure Vase, 540 BCE Red figure transformation and the setting of the symposium – making the story immediate.
- 7. Euphronios, Death of Sarpedon, Red Figure Vase, 515 BCE, obverse Euphronios, Arming the Youth, Red Figure Vase, 515 BCE, reverse Parthenon, the convergence of the parts – Iktinos, Kallikrates, Phidias, and Perikles – mid- 5th C. BCE Athens Athens, Iktinos and Kallikrates, Parthenon, 447 BCE Parthenon restored and colored Metope – Lapith and Centaur Metope – Lapith and centaurs Sophocles, Antigone, Choral ode – Numerous are the world’s wonders but none more wondrous than man. The human struggle Phidias and Perikles - Pediments – gods and Athenians East and West pediments. East (top) – birth of Athena, West – Contest between Athena and Poseidon East pediment colored – the focus of the temple, Birth of Athena.
- 8. Parthenon – frieze. When humans become like gods. The value of the citizen, male and female, to the survival of the democratic polis. Cavalcade Presentation of the peplos