APAH Ancient Mediterranean

Statues of votive figures, Sumerian. C. 2700 BCE. Gypsum inlaid with shell and block limestone

• wide eyed

• athropomorphic

• Beard is stylized

• Hands clasped together

• Chin titled upward

• The statues are always fully fronta;

• Figures were given to priests to hand to gods and show their appreciation, puppy eyes

• Were placed inside temples

Standard of Ur from the Royal Tombs at Ur. Sumerian. C. 2600-2400 BCE. Wppd inald with shell, lapis lazuli, and red limestone

• Hierarchy of scale is used here, one figure is proportionally larger than the surrounding figures

• On the box, common laborers are at the bottom.

• As you move up registers, the social classes of the figures increase and become more powerful

• It was found in the mid-3rd millenium

• The UR was an object that was in the ritual burials of sumerian kingships

• There was a government theocracy

• Shows scenes of peace and war

The Code of Hammurabi. Babylon (modern day Iran). Susian. 1792-1750 BCE. Basalt

• The man sitting is a god, sunrays shows hes the sun god

• The sun god hands the king the right to rule

• Ring and rod given shows power to rule over others

• twisted perspective stele

• words written on the artwork is in cuneiform

• showcases justice and power

Palette of King Narmer. Predynastic Egypt. C. 3000-2920 BCE. Greywacke

• Found in the temple of Horus

  • Made during the unification of lower and upper Egypt For King Narmer AP

  • Contains The head of goddess Bat ii. King Narmer with a bull tail and a lower Egpytian custom

  • Enemies decapitated and castrated

  • Bull (King Narmer) knocking down wallsCarved from a grayish siltstone

  • 2 feet long

  • Used for grinding up makeup (ex: Eye makeup and lipstick)

  • Ceremonial; dedicated to a god

  • Was also an object placed in graves

Seated Scribe. Egypt. Old Kingdom, Fourth Dynasty. c. 2620-2500 BCE. painted limestone

• Eyeliner on the scribe

• stomache pudge

• natural colors of the sculpture, not luxury ones

• Fully frontal statue

• A scribe from ancient egypt, writing things down

• most likely in a scribe tomb, well fed and comfortable

• The statue was placed in in subsittue for the scribe, while the pharaoh was in his tomb and going to the afterlife

Akhenaten, Nefertiti, and three daughters. New Kingdom, 18th dynasty. C 1353-1335 BCE. limestone

• use of curving organic lines

• bodies are less angular

• not centered on authority

• showing a domestic scene between Akhenaten and his family

• During this period, it was a change from a polythestic to monotheistic

• Natural objects used (limestone)

Last judgement of Hu-Nefer, from his tomb. Book of the Dead (New Kingdom, 19th Dynasty. 1275 B.C.E. Painted papyrus scroll)

• Dynasty. 1275 B.C.E. Painted papyrus scroll)

• Book of Dead = text with spells, prayers and inscriptions that helped the dead in the afterlife

• “Coffin Text’ instructions written on coffin

• Founded buried with HuNefer

• Horus 4 children are responsible for carving for Hunefer’s internal organs, represent 4 cardinal points

• Upper left = Hunefer speaking to deities explaining how he has lived a good ife and deserve to be in afterlife

• Depicted in white robe

• Led by Anubis=jackalheaded god who is carrying an Ankh-symbol of eternal life

• Art contains Egyptian conventions

. Sarcophagus of the Spouses (Etruscan. 520 B.C.E. Terra cotta)

• Found in Etrusan tomb

• Etrusans lived in northern Italy

• . Made in 520 BCE

• Etrusan women held a higher importance

• Deceased woman and man together in intimacy

• Archaic smile

• Both people are reaching out

• The sarcophagus takes form of a bed

• Painted terra cotta

• High-relief

• Relaxed figure

Tomb of the Triclinium (Tarquinia, Italy. Etruscan 480-470 B.C.E. Tufa a

• Iron Age - peak of Etrsucan culture

• Wealth based on natural resources

• Iron from Greece and north Africa

• Etruscans believed that the afterlife will be like life on Earth

• Funerary customs

• Did not bury people

• Intricate funerals for members of the elites

• Tomb has chambers

• Painted fresco walls

• Left wall - four dancers and a male musician

• Right wall has a similar painting

• One fresco painting is faded most likely had 3 couches with recliner diners and 2 attendants

• Animals under couchesd

Niobides Krater (Anonymous vase painter of Classical Greece known as the Niobid Painter. 460-45- B.C.E. Clay, red-figure technique

• Each period of time had it’s own techniques
  clay vase

• Geometric period: geometric patterns

• Orientalizing period animals professions and near eastern motifs

• Archaic and Classical Periods: vase displays human and mythological activities.

• They got revenge for their mother by killing Niobe’s kid 2. Perfect profile

• Artemis = reaching quiver for another arrow

• Apollo = drawing his bow back

• Niobe kids = more frontal

Doryphoros (Spear Bearer) (Polykleitos. Original 450-440 B.C.E. Roman copy [marble] of Greek original [bronze])

• Found in palestra (place for athletes to work in) in Pompeii

• One of the most copied sculpture in Greeks

• Created at time when Greeks were in awe of the mathematics of perfection of human body

• Manipulated symmetry

• Graceful arrangement of the body based on tilted shoulders and hips and bent knees

• Celebrates the human body, it's beauty, and strength

• Earliest examples of contrapposto: s-shaped curve off his spine, better balance, weight on his right foot, more naturalistic, tilted life-like appearance

• Strong sense of harmony: Left arm/ right leg=relaxed, right arm/left leg=tensed

• Broad shoulders/thick torso, muscular

• Hold an iron spear

Alexander Mosaic from the House of the Faun, Pompeii (Republican Roman 100 B.C.E. Mosaic)

• Found in the city of Pompeii which was preserved in ash after the eruption of Mount Vesuvius

• Depicts the Battle of of Alexander the Great and Darius III

• Excellent use of foreshortening in the horse

• found in Pompeii which means it was piece of art aristocrats would have invested in for perhaps their own enjoyment and for the enjoyment of guest

• Greek version of the Roman

• Made from more than one million and a half pieces of stone (tessare)

Ludovisi Battle Sarcophagus (Late Imperial Roman 250 C.E. Marble) a. Context: i. Sarcophagus start to appear more commonly in the

• Sarcophagus start to appear more commonly in the beginning of 2nd century

• Typical style of Late Imperial rome=emotional subject

• . Roman=good guys in this piece, idealized, confident,

• The hero=center, clear focal point, open-chested, strong, armoured, no weapon, no helmet=invincible

• Created to mark the grave of a rich

• Detailed carving, at some point the piece has 4 layers of figures on top of one another

• The goths=Barbarians/Gauls (western Europe)=enemy, portrayed disdainfully

Tutankamun Tomb, inner-most coffin. New Kingdom. 1323 BCE. Gold with an inlay of enamel and semiprecious stones.

• Crafted from gold and semi-precious stones, covered in lapis and coffin made from wood

• Protecting tutankhamunn

• decorated in texts and symbols

• Tutuankhamun ruled after amaran age

• he married his half sister

• 12 ft long

• Udjat on the coffin, along with hekha and nekhaka on the coffin

Athenian Agora. Archaic through Hellenistic Greek. 600 BCE-150 CE. Plan

• staos covered walkways

• temples & shrines

• monumens for gods like athena

• public building used to conduct business

• a place for public building used to conduct business

• Athenian started experimenting with democracy, letting more people in the government

• to participate in government, you had to be male, and a Athenian

Anavysos Kouros. Archaic Greek. C. 530 BCE. Marble with remnants of paint

• tall marble statue

• extremely muscular

• traces of paint

• depicts a nude man

• good physical form

• has archaic style

• grave marker for fallen warrior

• representing figures & importance, valuing youth and strength

Peplos Kore from the Acropolis. Archaic Greek. 530 BCE. Marble, painted details

• life sized marble statue

• wearing simple female garments

• represents goddess Athena

• showcases modesty

• dedicated in sanctuaries

Acropolis. Athens, Greece. Iktinos and Kallikrates. 447-410 BCE. Marble

• Ionic, doric and corinthian forms of architecture

• sculpture of the goddess of Athena

• the importance of military victories are seen in the nike sculpture, after the destructive war of the spartas

• The temple was seen as the symbol for the birth of democracy

• the pediment sculpture was filling the triangular gable

• A lot of gods and goddesses were depicted

• Frieze is the band of sculptures

• sculpture represented the birth of athena

• The Vienetians succeeded in capturing acropolis

• The plaque of ergastines most likely represents the atheanic proccessionWing

Winged Victory of Samothrace. Hellenistic Greek. c. 190 BCE. Marble

• 18 feet tall

• much drama as seen by the wings

• made of stone marble

• A Nike personifies victory, a goddess

• stood within a fountain in a sanctuary

• carved during hellenistic period, after alexander the great created one of the largest empires.

• drapery

Great Altar of Zeus and Athena at Pergamon. Hellenistic Greek. C. 1755 BCE. Marble. present day Turkey

• mythological celebreation of power

• Athena and Zeus exude a sense of expressiveness and drama, love of the body

• Battle between giants and the gods

• carved marble

• high relief

• This type of greek art after the death of Alexander the Great

Seated boxer. Hellenistic Greek. c. 100 BCE. Bronze

• A lack of heroism, human emotion

• posture is slouched, reflecting fatigue and vulnerability. The sculpture captures the essence of a defeated athlete, emphasizing realism over idealism.

• ageing

• showcases the effects of physical struggle and defeat, throughout daily life

• the boxer has nice muscles

• boxer has a concerned expression on his face

White Temple and its ziggurat. Sumerian. C. 3500-3000 BCE. Mud brick

• looks very old, like a ruined temple

• the ziggurat has lines that allowned rain to runoff and not destory the plan of the building, with a raised platform for worship, symbolizing the connection between the heavens and earth. It served as a center for religious activity in ancient Sumerian culture

• There were restricted spaces inside of the temple

• the raised nature of the zigguart exemplified how the higher up you were, the closer you were to God.

• Anu was the sun god they were trying to praise

Great Pyramid (Menkuara, Khafre, Khufu) and Great Sphinx. Giza, Egypt. Old Kingdom, Fourth Dynasty. c. 2550-2490 BCE. Cut limestone

• the pyramids had massive limestone blocks

• the interior was made from granite

• The inside functioned as a funerary system; it served as a tomb for pharaohs, also for rituals

• intricate chambers and passages designed for both burial and protection in the afterlife.

• The Great Sphinx, a statue with a lion's body and human head, serves as a guardian for the complex.

King Menkaura and queen. Old Kingdom, Fourth Dynasty. C. 2490-2490 BCE. Graywacke

• The king and queen are standing rigidly next to eachother

• King Menkaura's fists are clenched, signifying strength

• left foot is forward, showcasing power because his foot is farther out than his wife

• The queen is holding onto his arm, showcasing submission

• The king has a false period on his chin which showcases his connection to the gods.

Temple of Amun-Re and Hypostyle Hall. Karnak, near Luxor, Egypt. New Kingdom, 18th and 19th Dynasties. Temple: 1550 BCE hall: 1250 BCE. Cut sandstone and mud brick

• Temple built made mostly of sandstone, columns covered in carvings and hieroglyphics

• Heavily used New Kingdom, restrictive and only able to be accessed by elite

• Currently in poor state due to lack of preservation

• . Pharaohs continued to add to it overtime

• Clerestory lighting = natural and coming from opening above

• Creates a sort of heavenly godly feeling iv. Existed in Karnak, near Luxor. Egypt

• Obelisk and sphinx make it Egyptian

Forum of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106–112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column).

• Were found in any Roman city at the heart

• Always included a temple

• Trajan had expanded the Roman Empire to all over the Mediterranean Content

• Commemorate the Trajan’s victories

• Highlights of when the Trajan defeated the Dacians

• Shows his proud military acts

• Full of Greek and Roman literature

• Apollodorus of Damascus was the engineer

• Had a massive entrance way

• Column of Trajan

• Past the forum was Basilica Ulpia

Grave stele of Hegeso. Attributed to Kallimachos. c. 410 BCE. Marble and paint

• Diphlon cemetery in Athens

• Hegeso: woman, domestic, basically in a house on the stele: 2 walls and a roof

• Not citizens of Athens

• Women were defined by their relationship to men v. noble , her father grave plot was super magnificent

• Attributed to the sculptor Kallimachos

• Relief sculpture of Hegeso and servant girl

• Servant holds jewelry box and Hegeso holds and look at a necklace (dowry)

• Drapery: elaborate forms and swirls, very close to her body

• She does not touch the ground: her foot is on a pedestal

Lamassu from the Citadel of Sargon II, Dur Sharrukin (modern Khorsabad. Iraq) (NeoAssyrian. 720-705 B.C.E. Alabaster.)

• Mesopotamia was often in war and being conquered by different people

• Palace of Sargon

• Founded the capital in modern day Khorsabad

• Made during the height of Assyrian power

• Human headed winged bull (protective genies called Lamassu) guarded entrances

• Carved from a single block

• The Lamassu has five legs

• Curly long tail, Expressive eyes, Has a crown, detailed wings, double horns,

Audience Hall (apadana) of Darius and Xerxes. Persepolis, Iran. Persian. C. 520-465 BCE. Limestone

• 72 columns, each 24 meters tall, extremely intricate

• Columbs capitals = animals: bulls, eagles, lions, all symbol of royalty

• 2 monuments of staircases, The walls were carved with illustrations of hundreds of figures bringing offerings to the king from all the states conquered by Persian Empire

• Carved primarily of limestone The carvings on the wall were bas-relief

• Display the importance and authority of King

• Column capital = high relief v. Hall = hypostyle architecture

• Represents the expensive nature of the Persian Empire and emperor’s power ii. Ceremonial Hall

Mortuary Temple of Hatshepsut (Near Luxor, Egypt. New Kingdom, 18th Dynasty. 1473-1458 B.C.E. Sandstone, partially carved into a rock cliff, and red granite)

• Hatshepsut = woman pharaoh

• New kingdom

• Hatshepsut wanted to prove that she was chosen to be Pharaoh

• Kneeling statue of Hatshepsut - shows the masculine features of past Pharaohs (fake beard, deemphasized breast, and headdress) -

• 9 ft tall

• Temple had a relief carvings and statues of the Pharaoh with the gods

• Temple cut from a cliff side

• Kneeling statue - made from granite

• Temple had a colonnade terrace (aligned with the winter solstice )

Temple of Minerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. c. 510–500 B.C.E. Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.

• Found in Ertuscan

• Long deep tufa - block foundations

• Triple cellar (Three-room configuration)

• . Temple held masks, antefixes, decorative details

• Terra cotta statues were once placed on the edge of the roof

• Terra cotta

• Tufa - a porous rock similar to limestone

• Doric columns

• Stone foundations

• Wood, mudbrick, terra cotta superstructure

• Split into two

• Deep front porch with wide space

• Tuscan columns

• Dedicated to Minerva

House of the Vettii. Pompeii, Italy. Imperial Roman. c. second century B.C.E.; rebuilt c. 62–79 C.E. Cut stone and fresco

• House owned by Aulus Vettius Conviva and his brother, Aulus Vettius Restitutus

  • Wall painting=decorative schema

  • 4th style wall painting=expansive

  • Contains large central Halls (Atria) iv. Largest of room opening on peristyle contains painting in red/black

  • Mythical winged gods of Love v. Impluvium (water basin) lies at center of atrium for collecting rain

  • Phallic figures god priapus, females being sexual, and depictions of nude males symbolizes fertility

  • Painting depicts Cupid collecting grapes

Head of a Roman patrician. Republican Roman. c. 75–50 B.C.E. Marble

• Male gaze

• Wrinkled and toothless with w/ sagging jowls

• Physical traits meant to convey seriousness of mind and the virtue of a public career by showing the mark of the endeavors.

• Wrinkles and other sign of ageing on this portrait serve to point out his admirable qualities of experience, seriousness and determination

• Otricoli, head

• 1’2” High

• Marble

Augustus of Prima Porta. Imperial Roman. Early rst century C.E. Marble

• Augustus claims to be reestablishing the senate but in reality is stabilizing Rome so he can be Rome first real emperor

• Utilize canon of proportions

• Cupid rides a dolphin and symbolizes Augustus win in battle of Actium

• Cupid=show Augustus ancestors=Aeneas and Caesar b. Content:

• Political significance, filled with Roman political ideology

• Idealized statue of him, very young and attractive

• Cupid is pulling down his garment at his ankle symbolizes his own divine lineage

• The cuirass or breast plate depicts the god of the sky and goddess of the Earth, divine convergence on his sides=female personification of the nations conquered by Rome

• Sun God and Sky God (Sol and Caclus) are at top of Cuirass and shines down on all part of the Empire

• Found in the villa of Livia (his wife) at Prima Porta

Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70–80 C.E. Stone and concrete.

• Original called Flavian Amphitheater

• Named after the family who paid for the Colosseum

• Later was referred to as the Colosseum

• Vespasian built this as a gift to the Greek people

• Showed the social statues based on where a person was sitting

• slaves and no-citizens (besides women) were able to fight for their freedom

• Had vaults and arches

• Oval shaped

• 1-3 levels had arched windows

• 4 levels had no solid wall no windows( for slaves foreigners and women)

• Flat stage with sand in the center

Pantheon. Imperial Roman. 118–125 C.E. Concrete with stone facing.

• Most influential building in the Renaissance

• Inscription above doorway, reads tribute to Marcus Agippa -

• in bronze, pediment-sculpture that acted out the battle of titans, 8 arches=housed statues of deities & emperors,

• Statues of Augustus & Agrippa stood in Apse at the end of colonnaded side aisles of entrance

• Huge amount of geometric representation, floor=concentric circles/squares

• Almost all of it's mathematically proportioned

• Hole in the Dome=oculus 1. One great window, when it rains water

• Reflects the movement of the heavens because of how sharp circle of light moves across building

• Corinthian columns= monolithic

• porch = rectilinear, upon entry the space opens up into a curvilinear, radial interior