THIRD EXAM

Survey of Art I (AH 1110) Stokstad Text, 2009

Dr. Hunnewell

Study Guide III

I. ASIAN ART: BUDDHISM IN INDIA AND THE CHINESE EMPIRE (c. 500 BCE – 1200 CE)

EARLY BUDDHIST ART IN INDIA (c. 500 – c. 300 CE)

Terms:

• Buddha:

• a “fully enlightened being”
• Siddhartha Gautama- was born into a wealthy royal family. He was a prince. He was constantly surrounded by good things. One day when he was 29 he left his palace and entered the real world of poverty, sickness, and death. He was confused and bothered by this, so he left his old life to live in the wild, and meditate. He meditated for 6 years and finally was completely enlightened, in India.

• Four Noble Truths:

• The Buddah gave his first teaching at Sarnath, where he gave the four noble truths.
• They are the foundation of Buddhism.
• 1) Life is suffering
• 2) The cause to the suffering is ignorance.
• 3) The ignorance can be overcome and extinguished.
• 4) The way to overcome the ignorance is through the Eightfold Path.

• Eightfold Path:

• right view
• right resolve
• right speech
• right action
• right livelihood
• right effort
• right mindfulness
• right concentration

• Myth and Religion: Buddhism (p. 317):

• A buddha is not a god but rather one who sees the ultimate nature of the world and is therefore no longer subject to samsara.
• samsara- the cycle of birth, death, and rebirth. Without seeking enlightenment we are caught in this cycle, whether we are born into the world of the gods, humans, animals, demons, tortured spirits, or hell beings.
• Theravada or Hinayana- The early form of Buddhism. It stresses self-cultivation for the purpose of attaining nirvana. This is mainly in southern India, Sri Lanka, and Southeast Asia
• Nirvana- the extinction of samsara for oneself.
• Mahayana: Another form of Buddhism. Popular in northern India within 500 years of Buddha’s death. It eventually flourished in China, Korea, Japan, and in Tibet. Their goal is not nirvana, it is buddhahood (enlightenment) for every being throughout the universe. The recognize buddhas other than Shakyamuni from the past, present, and future.
• Maitreya: the next buddha to appear on earth.
• Amitabha Buddha: The Buddha of Infinite Light and Infinite Life. He dwells in a paradise know as Western Pure Land. He became popular in East Asia.
• bodhisattvas: Developed from Mahayana Buddhism. It means “those whose essence is wisdom”, saintly beings who are on the brink of achieve buddhahood before crossing over themselves.
• In art, bodhisattvas and buddhas are most clearly distinguished by their clothing and adornments.
• bodhisattvas wear the princely garb of India
• buddhas wear monk’s robes.

• Stupa:

• Religious monuments that enclose a relic chamber.
• It may be small and plain or large and elaborate.
• It’s form may vary from region to region but its symbolic meaning remains virtually the same, and its plan is carefully calculated mandala.
• mandala: diagram of the cosmos as it is envisioned in Buddhism.
• They are open to all for private worship.
• The first stupas were constructed to house the Buddha’s remains after his cremation.
• The relics were divided into eight portions and placed in eight reliquaries.
• reliquary: each one was encased in it own burial mound (stupa)
• Eary stupas held actual remains of the Buddha, they were venetrated as his body and, by extension, his enlightenment and attainment of nirvana- liberation from rebirth.
• The method of venetration is to circumambulate, or walk around, the stupa in a clockwise direction.
• King Ashoka opened the original eight stupas and divided their relics among many more stupas, probably including the one at Sanchi.

• Elements of Architecture:

• Stupa
• viharas: monk’s cells and common areas.
• these structures are built up from the ground or rock cut hewn out of a mountainside.
• The derive from burial mounds and contain relics beneath a soild, dome-shaped core.
• A major stupa is surrounded by a railing that creates a sacred path for ritual circumambulation at ground level.
• it sits on a round or square terrace; stairs lead to an upper circumambulatory path around the stupa’s edge.
• On the top of the stupa’s dome a railing defines a square, from the center of which rises a mast supporting tiers of disk shaped “umbrellas”
• Temple
• they are either structural or rock-cut, executed in a number of styles and dedicated to a vast range of deities.
• the two general Hindu temple types are the northern and the southern styles-corresponding to North and South India.
• In these broad categories is great stylistic diversity, through all are raised on plinths and dominated by their superstructures.
• shikharas are the superstructure in the North
• amalakas crown them.
• vimanas are the superstructure in the South.
• capstones crown them.
• mandapas: halls that lead to an inner sanctuary
• garbhagriha: a sanctuary that contains a sacred image.
• axis mundi: runs vertically up from the Cosmic Waters below the earth, through the garbhagriha’s image and out through the top of the tower.

• torana:

• gateways that the railing on a stupa.
• they are aligned with the cardinal points, access is through the east torana.

• yakshi:

• The subjects of the three tiered superstructure in which posts and crossbars are elaborately carved with still more symbols and scenes studded with free standing sculptures.
• They are riders on real and mythical animals.
• It is between each capital and the lowest crossbar.
• female Indian art.
• distinguished by a formal, somewhat rigid pose, and emphasis on realistic details, and a clear distinction between clothes and nude parts of the body.

• urna:

• a Buddhist Symbol.
• a tuft of white hair between his eyebrows.

• ushnisha:

• The top of the Standing Buddha’s head has a protuberance called the ushnisha.
• In images often resembles a bun or topknot and symbolizes his enlightenment.

• mudra:

• Sanskrit word for “signs”
• ancient symbolic hand gestures that a regarded as physical expressions of different states of being.
• They are used during meditation to release these energies.
• Dharmachakra Mudra: The gesture of teaching
• Dhyana Mudra: gesture of meditation and balance symbolizing the path toward enlightenment.
• Vitarka Mudra: stands for intellectual debate
• Abhaya Mudra: gesture of reassurance, blessing, and protection. It means “have no fear”
• Bhumisphara Mudra: calls upon the earth to witness Shakyamuni Buddha’s enlightenment at Bodh Gaya.
• Varada Mudra: gesture of charity, symbolizes the fulfillment of all wishes.

Objects/Monuments:

• Great Stupa:

• at Sanchi in central India.
• originally built by King Ashoka in the Maurya period.
• part of a large monastery complex crowning a hill.
• It was enlarged and a stone railing was added.
• Later the elaborately carved stone gateways were added to the railing.
• Its solid hemispherical dome was built up from rubble and dirt, faced with dressed stone, then covered with a shining white plaster made from lime and powdered seashells.
• The dome sits on a raised base
• Around the perimeter is a walkway enclosed by a railing and approached by a pair of staircases.
• On the top of the dome another stone railing defines the abode of the gods atop the cosmic mountain.
• It encloses at the top of a mast bearing three stone disks or “umbrellas” of decreasing size.
• The profusion of designs, symbols, scenes, and figures carved on all sides of the gateways to the Great Stupa not only relates the history and lore of Buddhism, but also represents the teeming life of the world and the gods.

• Sanchi (9-8):

• the location of the Great Stupa
• in Central India

• East Torana (9-9):

• This is the entrance to the Stupa area. There are carvings of animals and other symbolic designs.

• Yakshi Bracket Figure (9-10):

• The Sanchi yakshi leans daringly into space with casual abandon, supported by one leg as the other charmingly crosses behind.
• She almost appears nude, which emphasizes her form.
• Here, she symbolizes the sap of the tree, which flowers at her touch.
• Details evoke this deity’s procreative and bountiful essence.

• Buddha and Attendants (9-14):

• This stele is a Mathura images.
• It is carved in high relief.
• It depicts a seated Buddha with two attendants. He sits in a yoga pose, on a pedestal supported by lions.
• his right hand is raised symbolizing “have no fear”
• he has a large halo, the scallop points of its border represent radiating light.
• There is a tree and two celestial beings hovering him.

___________________________________________________________________________________

CHINESE IMPERIAL ART OF THE QIN, HAN, TANG, AND SONG DYNASTIES (221 BCE – c. 1200)

Terms:

• Mausoleum: a monumental building used as a tomb. Named after tomb of Mausolos erected at Halikarnassos around 350 BCE.

• The Object Speaks: The Silk Road during the Tang Dynasty, p. 350:
• Goods, ideas, and influence flowed across the Silk Road.
• In the South China Sea, Arab and Persian ships carried on a lively trade with coastal cities.
• naturalism
• The Silk Road first flourished as a 5,000 mile network or caravan routes from the Han capital near present day Luoyang, Henan, on the Yellow River to Rome. It brought Chinese luxury goods to Western markets.
• Journey began at the Jade Gate at the westernmost end of the Great Wall where Chinese merchants turned their goods over to Central Asian traders.

• Myth and Religion: Daoism (p. 352):
• Daoism is an outlook on life that brings together many ancient ideas regarding humankind and the universe.
• The text was called the Daodejing, or The Way and its Power
• Written by Chinese philosopher Laozi.
• dao is a way or path.
• The Dao is the Ultimate Way, the Way of the universe. The Way cannot be named or described, but it can be hinted at.
• To recover The Way we must unlearn, and return to a state of nature.
• To follow the Way we must practice the wuwei, or nondoing.

• Art and Its Context: Confucius and Confucianism (p. 355):
• Confucius was born in the state of Lu, into a declining aristocratic family.
• He was a teacher, and spent his last few years teaching.
• Analects was a book of all his teachings.
• ren: human heartedness. It emphasizes morality and empathy as the basic standards for all human interaction.
• junzi: gentleman. opposite of a petty or small minded person. Characteristics include moderation, integrity, self control, loyalty, reciprocity, and altruism. Justice is his concern.
• li: etiquette. Everyday manners as well as ritual, ceremony, and protocol
• Ren and Li operate in the realm of the Five Constant Relationships that define Confucian Society: parent and child, husband and wife, elder sibling and younger sibling, elder friend and younger friend, ruler and subject.

Monumental landscape mode:

Objects/Monuments:

• Soldiers from Shihuangdi’s Tomb (10-1):
• 7,000 life size terra cotta soldiers and horses standing in military formation, facing east, ready for battle.
• Originally painted in vivid colors.
• They guarded the tomb of Emperor Shihuangdi

• Rubbing from Relief in the Wu Family Shrine (10-9):
• focused on human realm.
• shows the importance of the emperor as the holder of the mandate of Heaven
• illustrates the fundamental Confucian themes of social order and decorum.

• Camel Carrying a Group of Musicians (p. 350):
• shows the Tang fascination with the “exotic” Turkic cultures of Central Asia.
• Three bearded musicians are Central Asian.
• Two are Han Chinese.
• Bactrian (2 humped camel) were exotic Central Asian “visitors” were beasts of burden in the caravans that traversed the Silk Road.

• Seated Buddha, Yungang (10-13):
• Carved by the imperial decree of a ruler of the Northern Wei dynasty
• In Cave 20 Yungang
• 45 foot
• Elongated ears, protuberance on the head and the monk’s robe are traditional Buddha features.
• Masklike face, full torso, massive shoulders, and shallow, stylized drapery indicate strong Central Asian influence. Less human than the early Buddhist traditions in Italy.

• Fan Kuan, Travelers Among Mountains and Streams (10-20):
• great monument of Chinese art.
• 7 ft tall
• Unfolds in 3 stages like drama.
• At the bottom: a large low lying group of rocks (1/8 of the surface) (establishes the foreground.) Anticipates the shape and substance of the mountains to come, the rocks introduce the main theme of the work.
• In the middle: travelers and their mules are coming from the right. We see how small we are compared to nature. Takes up twice as much space. Like a play, it shows variation and development. The rocks are separated instead of a solid mass. They are separated by a waterfall.
• The Back: Almost 2ce as big as the foreground and midground put together. Climatic like a play, The mountain solidifies.
• The whole painting conveys the feeling of climbing a high mountain leaving the human world behind to come face to face with the Great Ultimate in a spiritual communion.

_______________________________________________________________________________________________

II. JEWISH AND EARLY CHRISTIAN ART (1 – c. 500 CE)

EARLY JEWISH ARTS (1-500 CE)

Terms:

• Judaism:
• Followers hold that only one god created and rules the universe.
• Jews believe that God made a convent, or pact, with their ancestors, the Hebrews, and that they are God’s chosen people.
• They await the coming of a savior, the Messiah, “ the anointed one.”
• Torah:
• the first 5 books of Hebrew Scripture.
• Genesis: God promised the patriarch Abraham that Canaan would be a homeland for the Jewish people.
• Hebrew Scripture:
• Judaism, Christianity, and Islam are all “religions of the book”
• written records of God’s will and words.
• Old Testament Patriarchs (Abraham, Moses, etc.):
• Abraham was promised that Canaan would be a homeland for the Jewish people.
• Moses: a prophet that led the Hebrews out of slavery in Egypt to Canaan. He climbed to the top of Mount Sinai and was given by God the ten commandments.

Objects/Monuments:

• Menorahs and Ark of the Covenant, Jewish catacomb, Rome (Stokstad, 7-2):
• a gold covered wooden box that the commandments were kept in.
• Jewish king Solomon built a temple in Jerusalem to house it.
• The Babylonians conquered Jerusalem. They destroyed the Temple, exiled the Jews and stole the Ark of Covenant.
• The were 6 Jewish catacombs.
• menorahs: seven branched lamps. There were two of them.

• Wall with Torah niche, from a house synagogue, Dura Europas (7-3):
• Scenes from Jewish history and the story of Moses unfold in a continuous narrative around the room.
• The vivid description of events follows the Roman tradition of historical narrative.

____________________________________________________________________________________________

PRE-RECOGNITION EARLY CHRISTIAN ART (1-313 CE)

Terms:

• New Testament:
• life and teachings of Jesus of Nazareth
• attributed to the Four Evangelists: Matthew, Mark, Luke, and John. They are known as Gospels.
• includes the Acts of the Apostles and the epistles (21 letters of advice and encouragement to Christian Communities in cities and towns in Greece, Asia Minor, and other parts of the Roman empire.)

• Christian symbols (p. 238):
• the dove is a symbol of purity, representing peace when it is shown bearing an olive branch.
• white dove: the holy spirit.
• fish: symbol for Jesus Christ because the first letters of Jesus Christ, Son of God, Savior, spelled fish in Greek. Baptism and water.
• lamb: symbolizes Jesus’ sacrifice on the cross as the Lamb of God.
• a flock of sheep represents all Christians.
• St. Matthew: a man or angel.
• St. Mark: a lion
• St. Luke: an ox
• St. John: an eagle.
• Cross: symbolizes the suffering and triumph of Jesus’ Crucifixion and Resurrection.
• Alpha and Omega: first and last letters of the Greek alphabet. Signify God as the beginning and end of all things.

• Good Shepherd:
• Symbolizes Apollo or Hermes the shepherd, or Orpheus among the animals in pagan art.
• Good Shepherd of the Psalms and Gospels to the Jews and Christians.

• Jonah and the Whale:
• God caused Jonah to be thrown overboard, swallowed by a monster, and released, repentant and unscathed, three days later.
• Christians interpreted this as a parable of Christ’s death and resurrection.

• Grapes; Christian iconography (pp. 252-53):
• Annunciation: The archangel Gabriel informs the Virgin Mary that God has chosen her to bear his son.
• Nativity: Jesus is born to Mary in Bethlehem. The holy Family- Jesus, Mary, and her husband, Joseph- is shown in a house, stable, or, in Byzantine art, a cave.
• Last Supper (Holy Eucharist): During the Passover meal, Jesus reveals his impeding death to his disciples. Instructing them to drink wine and eat bread in remembrance of him. He lays the foundation for the Christan Eucharist.
• Crucifixion: The earliest show either a cross alone or a cross and a lamb. Later they may show: 2 criminals are crucified next to Jesus; the Virgin Mary, John the Evangelist, Mary Magdalen, and others mourn at the cross; Roman soldiers torment Jesus; a skull.
• Resurrection; themes of salvation and resurrection: Three days after his death, Jesus walks from his tomb while the soldiers guarding it sleep.

Objects/Monuments:

• Good Shepherd, Orants, and Story of Jonah, Catacombs, Rome (7-6):
• ceiling of a cubiculum is partitioned by a central medallion and four lunettes. In the shape of a cross. Hiding Christianity.

______________________________________________________________________________________________

PERIOD OF RECOGNITION [IMPERIAL CHRISTIAN (325-c. 500 CE)]

Terms:

• Edict of Milan (313 CE):
• issued by Constantine 1.
• it granted all people in the Roman Empire freedom to worship whatever god they wished.
• allowed Christianity to enter a new phase.
• Basilca/Central plans (pp. 242-43):
• a large well lit space for Christian congregations to worship.
• entrance from an atrium on the short side of the building and one apse at the opposite end.
• the place where the alter stood was the place that in a pagan basilica was reserved for the judge or presiding official.
• The nave with aisles on the two long sides created an ample central space for processions and a place for the congregation.
• basilica plan:
• atrium: a forecourt that leads the the narthex
• narthex: a porch, spans one of the building’s short ends.
• nave: separated by rows of columns, high ceilinged.
• clerestory: has windows, rises above the side aisles’ roof
• side aisles: They’re separated by rows of columns from the nave.
• transept: a wing that crosses the nave in front of the apse, making the building T shaped. Tau plan.
• apse: the building’s focal point, where the alter is located.
• baptistry:someone becoming part of the church through a ceremony with holy water.
• central plan: first used by Christians as tombs, baptism centers, and shrines to martyrs. They generally have an atrium, a narthex, and an apse.
• ambulatory: tall rotunda with an encircling barrel vaulted passageway.
• dome: “vault of heaven”
• icon: symbolic meaning.

-2-

Objects/Monuments (Period of Recognition/Imperial Christian):

• Reconstruction drawing of Old St. Peter's basilica, Rome (7-10):
• replaced the Old St. Peter’s. It protected the tomb of Peter and be accessible to the faithful.
• it includes a transept, a clerestory, side aisles, narthex, atrium, fountain, nave, and a gate house.

• Santa Costanza, Rome (7-16, 17)):
• The italian form of constantine.
• has a tall rotunda with an encircling barrel vaulted passageway (ambulatory)
• double ring of paired columns with Composite capitals and richly molded entablature blocks supports the arcade and dome.
• interior was entirely sheathed in mosaics and fine marble.

• Harvesting of Grapes, Santa Costanza, Rome (7-18):
• a mosaic in the ambulatory vault
• covered with a tangle of grapevines filled with putti, naked male child, angels, or cherubs from classical art. They vie with the birds to harvest the grapes.

• Sarcophagus of Junius Bassus (7-23):
• imposing as the pagan Roman Battle Sacarphogus.
• Junius Bassus was a Roman official who was “newly baptized” and died when he was 42.
• On the front panel, columns, entablatures, and gables divide the space into scenes. Details of architecture, furniture, and foliage suggest the earthly setting for each scene.
• in the center of both registers, columns carved with putti producing wine frame the triumphal Christ.
• in upper register he appears as a teacher-philosopher flanked by St Peter and Paul.
• Christ rests his head of Aeolus, god of winds.
• He is giving his disciples the Christian Law.
• bottom register Jesus makes his triumphal entry into Jerusalem.

___________________________________________________________________________________________

III. BYZANTINE ART (395 – 1453 CE)

Terms:

• Ravenna, Italy:
• became the Eastern empire’s administrative capital in the West.
• Honorius moved his government here
• offered military security, and direct access by sea to Constantinople.
• Fall of Rome, 476: Rome was split into eastern and western divisions by Theodosius.
• mosaics: tessera(e): The small piece of stone, glass, or other object that is pieced together with many others to form mosaic.
• Byzantine style: Ivory carvings, painted icons, perfected churches. expressions of spiritual beliefs and worldly aspirations.
• Byzantine emperor; Istanbul = Constantinople: It laid at the cross roads of the overland trade routes between Asia and Europe. and the sea route connecting the Black Sea and the Mediterranean.
• Pendentives and Squinches (p. 257):
• two methods of supporting a round dome or its drum over a square space.
• they convert the square formed by the walls or arches into a circle.
• Pendentives: spherical triangles between arches that rise to form openings on which a dome rests.
• Squinches: are lintels placed across the upper corner of the wall and supported by an arch or a series of corbeled arches that give it a nichelike or trumpet shape. They create an octagon so they support a dome.
• fall of Constantinople, 1453: Fell to the Ottoman Turks.

Objects/Monuments:

• Hagia Sophia, Istanbul, Turkey (7-23, 26, 27):
• “Holy Wisdom”
• embodied imperial power and Christian glory.
• huge dome hung on “golden chain from heaven.”
• based on a central plan with a dome inscribed in a square.

• San Vitale, Ravenna; Justinian & Theodora mosaics (7-28, 29):
• central domed octagon extended by exedralike semicircular bays, surrounded in turn by an ambulatory and gallery, all covered by vaults.

• Virgin of Vladimir (7-39):
• icon of Mary and Jesus.
• distinctively humanized image suggests the growing desire fore a more immediate and personal religion.

• Cathedral of Saint Mark, Venice (7-44):
• each dome has it’s own vertical axis.
• marble veneer covers the lower walls, and golden mosaics are above the vaults, pendentives, and domes.

__________________________________________________________________________________

IV. ISLAMIC ART

Terms:

• Muhammad: founder of Islam, a prophet.
• Mecca: Along with Medina was the holiest Muslim city. Muhammad flighted from there to Medina, and he untied the warring class of Arabia with Islam.
• Islam:
• “submission to God’s will”
• formed because of Muhammad’s revelations on the Night of Destiny.
• Their book id called the Qur’an.
• Muslims:
• their faith discourages the representation of figures, mostly in religious contexts.
• Thier army conquered the Sasanian Persian Empire, Egypt and the Byzantine provinces of Syria and Palestine. They reached India, conquered Africa and Spain and penetrated France.
• They practice in a mosque.
• Kaaba, Koran: It represents the center of the Islamic world. It is a cubical shrine, built for the God by the biblical patriarch Abraham and long the focus of pilgrimage and polytheistic worship. All Muslim prayer is directed here, and it is the destination of Islam’s obligatory pilgrimage, the Hajj. Muslims from everwhere come here during the month of the pilgrimage.
• Mosque Plans (p. 289): for the Mosque of the Prophet in Medina.
• minaret: a huge tower that the faithful are called to prayer at. It rises from one end of the court yard and stands as a powerful sign of Islam’s presence in the city.
• mihrab:comes from the tradition of niches that signify a holy place, the shrine for the Torah scrolls in a synagogue, the frame for the sculpture of a god or ancestor in Roman architecture, the apse in a church.
• qibla wall: positioned near the mihrab. It is the wall of the prayer hall that is closest to Mecca.
• Five Pillars of Islam (p. 299):sometimes symbolized by an open hand with the 5 fingers extended, enumerate the duties required of Muslims by their faith.
• 1) shahadah: proclaims that there is only one god and that Muhammad is his messenger.
• 2) salat: requires prayers to be performed by turning to face the Kaaba in Mecca 5 times a day: dawn, noon, late afternoon, sunset, and nightfall.
• 3) zakah: voluntary payment of annual tax or alms. It is used for charities like feeding the poor, housing travelers, and paying the dowries of an orphan girl.
• 4) sawm:dawn to dusk fast during the month where Muhammad had a revelation (ramadan)
• 5) hajj: happens once in a Muslim’s life. It is the pilgrimage to Mecca.
• calligraphy: the art of fine hand lettering.
• arabesque: a type of linear surface decoration based on foliage and calligraphic forms, usually characterized by flowing lines and swirly shapes.

Objects/Monuments:

• Dome of the Rock, Jerusalem (8-3, 4):
• first great monument of Islamic art.
• 3rd most holy site in Islam.
• Umayyads built this shrine over the rock.
• crowned with a gold dome, decorated by opulent marble veneer and mosaics
• Great Mosque, Cordoba, Spain (8-8, 9)
• built by the Umayyads, on the cite of a Christian Church.
• had a courtyar with fruit trees
• a lot of pattern on the inside, repeated columns and double flying arches. Colorful and dramatic.
• Horseshoe arches
• major commercial and intellectual hub and flourishing center for the arts, science, philosophy, and literature.
• Page from the Koran (8-10):
• red diacritical marks, accent the dark brown ink, the sutuh title is embedded in the burnished ornament at the bottom of the sheet.
• Instead of page numbers the golf of the framed words and the knob like projection in the left-hand margin are a distinctive way of marking chapters.
• Tile mosaic mihrab, Madrasa Imami, Isfahan (Iran) (8-15):
• more than 11 feet tall, made by painstakingly cutting each individual piece of title
• whit against turquoise and cobalt blue with accents of dark yellow and green was typical color scheme of this type of decoration.

• Qibla wall with mihrab and minbar, Sultan Hasan Madrasa, Cairo (8-16)
• 4 iwan plan, each iwan was a classroom for a different branch of studies. students lived around them
• Court of the Lions, Alhambra, Granada, Spain (8-17):
• divided evenly into four parts by crossaxial walkways that meet at a central marble fountain held on the backs of 12 stone lions. There is a garden divided into quadrants.
• Hall of Abencerrajes was a winter reception hall and music room on the south side of the court.
• Sinan, Mosque of Sultan Selim, Edirne, Turkey (8-27):
• Made by Sinan for Selim II.
• more than 102 feet in diameter
• 8 massive piers
• light pours in
• held educational buildings, a cemetery, a hospital, and charity kitchens, income-producing covered market and baths, influenced by the Hagia Sophia.
• Illuminated tugra of Sultan Suleyman, from Istanbul (8-29):
• drawn in black or blue with three long vertical strokes to the right of two concentric horizontal teardrop.
• could be inspired by Chinese blue and white ceramics.

____________________________________________________________________________________________

V. EARLY MEDIEVAL ART IN EUROPE (c. 375 – 1000 CE)

ART OF THE MIGRATIONS (c. 400-c. 800 CE)

Terms:

• cloisonne enamel: cells formed from gold wire to hold shaped pieces of garnet or glass.
• illuminated manuscripts: decorated with gold and colors.
• "Animal Style" (symmetry, segmentation, interlace):
• serpents, four legged beasts, squat human figures- metal work.
• Animals are shown whole, in profile or from above.
• Ribs and spine are exposed like an x ray
• hip and shoulder joints are pear shapes
• tongues and jaws are extended and curled
• legs end in large claws
• interlacing legs
• monasticism: the religious practice in which someone renounces worldly pursuits to fully devote their life to spiritual work
• monastery: flourished in the Celtic north and west, where monks lived.
• the Medieval Scriptorium (p. 448):
• books were made one at a time, by hand, with ink, pen, brush, and paint
• usually made by monks and nuns in a workshop (scriptorium)
• books were written on animal skin
• vellum- fine and soft. Cleaned and stripped of hair and scraped for a smooth surface for the ink and water based paints. Required time and experience to prepare
• pigments of blues and greens were imported and very expensive.
• work was divided.
• signed and dated on the last page called the colophon
• parchment- heavier and shinier
• cloister: arcaded courtyards linking the church and the living and working areas of the monastery.
• symbols of the Evangelists:
• Man = St. Matthew
• Lion = St. Mark
• Ox = St. Luke
• Eagle = St. John

Objects/Monuments:

• Purse cover, Sutton Hoo Burial Ship (14-5):
• a purse found in the ship filled with coins
• cloisonne technique
• figures of gold, garnets, and blue checkered glass
• polygons decorated with purely long interlacing legs and jaws
• Page with Man, Book of Durrow (14-6):
• the format and text of the book reflect Roman Christian Models
• paintings are an encyclopedia of contemporary design
• each of the four Gospels is introduced by a page with the symbol of its evangelist author followed by a page of pure ornaments and the decorated letters or the first words of the texts.
• Gospel of Matthew is preceded by his symbol, the man such as to be seen only in jeweled images made by an Irish Scandinavian metalworker.
• Chi Rho Iota page, Book of Kells (14-1, 7):
• Gospel Book
• animals to shape XPI

_______________________________________________________________________________

-3-

CAROLYNGIAN ART (c. 800 -c. 900 CE); VIKINGS (c. 800-c.1000 CE)

CAROLYNGIAN

Terms:

• Charlemagne:
• Charles the Great
• established a dynasty and an empire known as Carolingian.
• became emperor
• wanted to restore the Western Empire as a Christian state and to revive arts and learning.
• “renewal of the Roman Empire”

Objects/Monuments:

• Plan of the Abbey of St. Gall, Switzerland (14-14):
• Abbot Haitio laid out the plan on a square grid with a Roman
• indicated the size and position of the buildings and their uses.
• Page with Matthew the Evangelist, Ebbo Gospels (4-17):
• illustrates the style associated with Reims
• artist interprets the author’s portrait with a frenetic intensity that turns the face, drapery, and landscape into swirling expressive colored lines.

___________________________________________________________________________

VIKING ERA

• Queen’s Ship, Oseburg, Norway (14-20, 21):
• vessel for two women on their journey to eternity
• burial chamber
• filled with jewelry and precious objects
• designed for travels in calm water.
• Rune Stones, Denmark (14-22)
• Danish king Harald Bluetooth ordered a picture stone to be placed near the family burial mounds at Jelling.
• Harald and the Dunes accepted Christianity

__________________________________________________________________________

VI. ROMANESQUE ART (c. 1000-1150 CE)

Terms:

• Crusades:
• The Western Church responded to the war with the Muslims by launching the crusades
• a series of military expeditions against Islamic powers.
• crusade refers to the cross worm by crusaders and pilgrims.
• The 1st Crusade was preached by Pope Urban II
• They captured Jerusalem
• The 2nd Crusade preached by St Bernard, nothing happened. Muslims captured Jerusalem
• 3rd Crusade- the Christians recaptured some land but not Jerusalem, but made a truce with the Muslims and could use the shrines in Jerusalem.
• pilgrimage routes: to the holy places of Christendom- Jerusalem, Rome, and Santiago de Compostela. Rewards awaited them. Pilgrims could stop to venetrate the relics of local saints and visit the places where miracles were believed to have taken place.
• pilgrimage church: Pilgrims built these to accommodate the faithful and instruct them the Church doctrine.
• the churches were filled with sumptuous altars and reliquaries

____________________________

pilgrimage choir: apse, ambulatory,

and radiating chapels; round arch; Saint Bernard and Theophilus, Opposing Views… (p. 477); The Pilgrim’s Journey (p. 480); Relics and Reliquaries (p. 484); William the Conqueror; rib vault; St. John's Apocalyptic Vision (Second Coming of Christ); Book of Revelation;

Romanesque portal: tympanum, lintel, trumeau, jambs; virtues – fortitude, vices -- luxury; Christ in Majesty; mandorla; baptistery;

The Role of Women in the Intellectual and Spiritual Life of the 12^th Century (p. 499)

Objects/Monuments:

France/Spain

Abbey Church of Sainte-Foy, Conques (Not in Book; in class)

Reliquary statue of Sainte Foy, Abbey of Conques, France (p. 484)

South portal, porch, and trumeau, Saint-Pierre, Moissac (15-26, 27)

Gislebertus, Last Judgment, tympanum, Sainte-Lazare, Autun (15-28, 29)

Sainte-Etienne, Normandy, France (15-21, 22, 23)

Christ in Majesty, Church of San Climent, Taull, Spain (15-30)

Germany

Hildegard and Volmar, Liber Scivias (p. 499)

France/England

Bishop Odo Blessing the Feast, Bayeux Tapestry: The Object Speaks, p. 504-505

The Mouth of Hell, Winchester Psalter (15-38)

______________________________________________________________________________________

VII. ART OF THE AMERICAS BEFORE 1300

Terms: Mesoamerica, Olmecs; Teotihuacan, talud-tablero constrution, Feathered Serpent, Storm God; The Maya (Guatemala, Honduras, Yucatan), Art and Its Context: Maya Record Keeping (p. 403), Art and Its Context: The Cosmic Ball Game (p. 405), Popol Vuh, Xibalba, Hero Twins

Objects/Monuments:

Olmec (c. 1200-400 BCE)

Colossal Head, La Venta (12-3)

-4-

Objects/Monuments (Art of the Americas before 1300):

Teotihuacan (height c. 350-650 CE)

Ceremonial Center of the City, Ciudadela, Pyramid of the Sun, Pyramid of the Moon, Plan (12-4,

12-5)

Temple of the Feathered Serpent (12-6)

Bloodletting Ritual (12-7)

The Maya (height c. 250-900 CE in Guatemala, c. 900-1521 CE in the Yucatan)

Base of North Acropolis and Temple 1, Tikal (12-8)

Palace and Temple of the Inscriptions (Tomb-Pyramid of Lord Pakal), Palenque (12-9)

Portrait of Lord Pakal (12-10)

Sarcophagus of Lord Pacal

Lady Xok’s Vision of a Giant Snake (12-11)

Cylindrical Vessel (Princeton Vase, 12-12)

Pyramid (“El Castllo”) with Chacmool, Chichen Itza (12-13)