South, East, and Southeast Asia & Early European and Colonial Americas

50. Rebecca and Eliezer at the Well and Jacob Wrestling with the Angel, from Genesis

Form;

-tempera, gold, and silver on purple vellum (animal skin)

-illuminated manuscript (pictures with words)

-continuous narrative

Content:

- stories from Genesis

-Jacob wrestles an angel at night

-Rebecca quenches thirst of camels and camel driver

-letters black now bc silver oxidized

-Greek writings> Byzantine

Function:

-tell stories

Context:

-Early Byzantine Empire 6th century CE

53. Merovingian looped fibulae

Form:

-interlacing (zoomorphic)

-bowed

-filigree 2-4"

-silver gilt (thin layer of gold)

Content:

-animals (fish represents Christ and eagle represents St. John)

Function:

-clip for holding fabric

-clasp that hold fabric to the shoulder

Context:

-mid 6th century CE

-Frankish kingdom

-found in tomb of rich woman

54. Virgin (Theotokos) and Child between Saints Theodore and George

Form:

-encaustic (wax base paint) on wood

-spacial recession but compressed space

Content:

-angels looking towards heaven

-Mary looking over viewers while the warrior saints look directly at viewer

-light falling on Virgin

-depicts Mary and Jesus in a different realm than others

Function:

-portray Mary and Christ protected by saints and hand of God

Context:

-6th-7th century

-Early Byzantine

55. Lindsfarne Gospels

Form:

-illuminated manuscript

Content:

-cross carpet page: cross forms out of chaos, creates illusion of 3D in which viewer can lose themselves in contemplation

-portrait page (luke): holds quill/looks prepared to write, gold halo (divinity), ox above his head, robe with purple and streaks of red

-incipit page (Luke): it "begins", animal life, spiral forms, swirling vortexes

Function:

-earliest known translation of the Bible

Context:

-created by monks

59. Bayeux Tapestry

Form:

-embroidery on linen

-Romanesque (English or Norman)

-2/3 of a football field in length

-continuous narrative

Content:

-a great epic

-2 main scenes

-story of William's conquest of England in the battle of Hastings

-Haley's Comet

Function:

-show Norman conquest

Context:

-Cantebury, NW France

-commissioned by Bishop Odo

-1066-80 CE (11th century)

61. Bible Moralisees

Form:

-dedication page

-Gothic

-gold leaf, tempera, ink on vellum

-illuminated manuscript

Content:

-King Louis IX

-Blanche of Castile

-passages from Old and New Testament

Function:

-made for Frnech royals' home (King Louis IV)

-create a moral through visionary readings

Context:

-Paris, France 1225-45 CE (center of learning and bookmaking)

62. Rottgen Pieta

Form:

-painted wood

-Medieval/Gothic and realistic

Content:

-Mary holding her dead son after Cruxifiction

-Mary is pained and anguished

Functions:

-versperbils (German devotional)

-feel the pain she feels

-intended to be used in contemplation and prayer

-devotional image

-shows them closer to the humanity side

Context:

-Bonn, Germany 1300

-German Gothic

64. Gold Haggadah

Form:

-illuminated manuscript

-pigments and gold leaf on vellum (animal)

Content:

-Left: plagues of Egypt

-Middle: scenes of liberation (Israelites leave)

-Right: Passover

Function:

-book used by a wealthy Jewish family to tell the story of Passover around the sedar table each year

Context:

-Late Medieval Spain 1320 CE

-similar to Christian Gothic manuscripts

66. Annunciation Triptych

Form:

-triptych

-altar piece (portable)

-renaissance

-Flemish (oil paint, glowing, vivid color)

-hyper reality/hyper clarity

-closed during the week, open during mass

Content:

-scene of the Anunciation

-Holy Spirit and Jesus coming through window

-couple asking for divine intervention

-Joseph on right making mouse traps

-Mary laying down on pew

-image of Chris coming from the window going to Mary's womb

Function:

-private devotional place

Context:

-workshop of Robert Campin (master of flemalle)

1427-32 CE (15th century)

-Flemish Renaissance

68. The Arnolfini Portrait

Form:

-oil on wood

-Renaissance

Content:

-betrothal (engagement)

-dog represents wealth and fidelity

-barefeet- something sacred taking place

-Patron saint of domesticity (St. Margaret

-Vaneyck signature and reflection in mirror

-witnesses of the marriage shown in the mirror

Function:

-shows status, wealth, power

Context:

-artist: Van Eyck

-1434 CE (15th century)

-Flanders

71. Madonna and Child with Two Angels

Form:

-tempera on wood

-3D figures

-sense of space

-elegant lines/curves

-humanism

Content:

-all humanized (mischievous look)

-Mary's halo slowing going away (divinity fading)

-Mary youthful/beautiful

-landscape through window (Flemish background)

-pearls (symbol of immaculate conception

Function:

-relate more to viewers by making humanistic images

-connect us to Mary and Jesus

Context:

-artist: Fra Filippo Lippi (monk of Carmelite order) teacher of Botticelli

-1465 CE

Early Renaissance Italy

72. Birth of Venus

Form:

-tempera on cancas

-curvy body (flexibility)

-neoplatonic love (classical and Christian)

-sense of pattern and beauty

Content:

-Venus standing on seashell

-born by the sea fullgrown

-couple intertwines; pushing Venus to land

-someone on shore ready to receive Venus with cloth

-floating figures

-Earthly and celestial love

Function:

-probably wedding gift

Context:

-artist: Sandro Botticelli

1484-86 CE

-Medici commission

-Venus is goddess of love

-Early Renaisasnce

77. Isenheim Altarpiece

Form: oil on wood, diptych (two panels/wings)

Content:

-predella: base of the altarpiece

-1st panel: shows Jesus suffering on the cross symbolizing the suffering of the patients

-2nd panel: shows Jesus resurrection

-3rd panel: statue of St. Anthony who was patron saint of the hospital

Function:

- made for a hospital to relate their suffering to Jesus' suffering in order to make them feel better

Context:

- no longer in situ

- Boarder of France and Germany

-Made by Matthias Grunewalkd in 1512-1516 CE

79. Allegory of Law and Grace

Form:

-woodcut, letterpress

-Protestant

-German text

Content:

-written in people's voice

-left: being chased by death (shows 10 commandments)

-right-washes over with Holy Spirit (can only be saved by God's grace

Function:

-propaganda during Reformation

-debates between Catholics and Luthers on how to get to heaven

Context:

-artist: Lucas Cranach the Elder (High Renaissance North 1530 CE)

-German; worked with Martin Luther

86. Henri IV Recieves Portrait of Marie de 'Medici

Form:

-oil on canvas

-floating figures

-part of a cycle

-shows an event in her life

-Catholic Baroque

Content:

-Henry IV present the picture of Marie that confirmed his religious identity; married a Catholic queen

-marries her so he can have a son and recreate him in a Catholic way

-Jupiter and Juno gives blessing to them

Function:

-"early harmony"

-part of a tribute to her life

-show that their marriage was official bc portrait

-shows political power, sophistication, and stability

Context:

-Peter Paul Rubens (Flemish painter)

-from Marie de' Medici cycle displayed in the Louvre

-1621-25 CE Flemish Baroque

87. Self Portrait with Saskia

Form:

-Dutch Baroque

-difference in emphasis on the figures

-exists in 3 different states

-rich tonal quality

-abrupt spatial construction

-etching (exposing metal)

-genre: private movement between husband and wife

-small scale

Content:

-Rembrandt and wife in historical clothing

-wife, Saskia died at the age of 30 (only piece he did of her)

-Rembrandt drawing his drawing

-exploring who he is

Function:

-self portrait/marriage portrait

-role playing

Context:

-Rembrandt 1636

-he is mostly a portrait maker

-Dutch, Amsterdam

-Dutch Baroque

96. Fruit and Insects

Form:

-still life

-Baroque

-oil on wood

-colors, detailed

Content:

-insects, fruit

-wheat and grapes= Jesus?

-bringing different compositions together

Function:

-harvest in autumn

-microscopic organisms: used microscope to study these organisms

Context:

-artist: Rachel Ruysch (Dutch arist; last famous still painter)

-Florence, Italy 1711 CE (18th century)

181. Petra, Jordan: Treasury and Great Temple

Form:

-cut rock

-treasury carved into a cliff

-red sandstone walls

-lower platform paved with hexagonal stones

Content:

-complex water system

-temple on platform like apadana and built on hillside

-buried dead in tombs cut out of sandstone cliffs

Function:

- city of powerful nomadic Arabic tradespeople (Nabataeans)

-important commercial center

-connected silk road and other trade routes

Context:

-found in 1812

-probably made around 400-100 CE

-ancient city in Jordan

-influence of Greek and Roman

182. Buddha

Form:

-cut rock with plaster and polychrome paint

- carved into niches on the side of a cliff

Content:

-staircase that ascended up to the Buddha's shoulder for travelers

-mutras: hand gestures

-hair in bun and big ears

Function:

-was the largest Buddha sculpture in the world until it was blown up in 2001 by Taliban

-travelers were Buddhists who offered gifts of thanks or prayers to the statue

Context:

-Bamiyan, Afghanistan- Gandaran 400-800 CE

-located on crossroads of the Silk Road

183. The Kaaba

Form:

-calligraphy on cloth covering the cube (kisna)

-corner points on the cardinal points

-granite with silk curtain

-set in a mosque

Content:

-kaaba in middle of Mecca

-kaaba filled with pagon god statues and the Black Stone

Function:

-holds relics of Muhammad

-walking meditation in counter-clockwise motion

-place of pilgrimage-hajj (one of the 5 pillars)

Context:

- Mecca, Saudi Arabia

-pre-Islamic monument

-631-632 CE

184. Jowo Rinpoche

Form:

-gilt metals with semiprecious stones, pearls, and paint

Content:

-various offerings, candles

Function:

-sacred image of Tibet

-idea is that you don't have to meditate or site a mantra; just seeing this will be a religious experience itself

-pilgrimage site

-believed to have ability to grant wishes

Context:

-enshrined in the Jokhang Temple

-Llasa, Tibet- Yarlung Dynasty

-brought to Tibet in 641 CE

185. Dome of the Rock

Form:

-octagonal centralized plan

-arcades, colonades

-heavily decorated on outside

-stone masonry decorated

-wooden roof and cermaic tile

-bronze dome

Content;

-building surrounding a rock

-mosaic contains no human or animal figures

Function:

-building over rock

Context:

-Jerusalem, Palestine 691-692 CE

-Umayyad- islamic

-rock is where Abraham prepared to sacrifice his son

-Mohammed's night journey

186. Great Mosque (Masjid-e Jameh)

Form:

-stone, brick. wood. plaster, and glazed blue ceramic

-each entrance corbelled

Content:

-built around a courtyard with 4 arches coming from it

-madrassa- place for Islamic instruction

-iwan: vaulted space that opens on one side to the courtyard)

Function:

-prototype for future iwan-mosques

-connects political, commerical, social, and religous activities within the city

Context:

-Isfahun, Iran- 700 CE

-Islamic, Persian- Timrud and Safavid dynasties

187. Folio from a Qu'ran

Form:

-ink, color, and gold on parchment

-wide page rather than vertical like normal

Content:

-brown Arabic ink read from right to left

-vegetal and geometric motifs because animal and human figures not allowed

Function:

-made for a wealthy patron

-Mus'haf: a codex Qu'ran (bound version)

Context:

-Arab, North Africa, or Near East- Abbasid

-8th-9th century

188. Basin

Form:

-brass inlaid with gold and silver

-very detailed, interconnected

Content:

-battle scenes on interior

-sea animals interconnected designs

-men on horseback

-men hunting

-artist's signature (6 times)

Function:

-orginially: washing hands at ceremonies

-later: used for baptism in the French royal family (St. Louis)

Context:

-Mumluk artists

-1320-40 (14th century)

-Egypt and Syria

189. Bahram Gur Fights the Karg

Form:

-ink, opaque watercolor, and gold on paper

-shown wearing European clothing but background looks Chinese (combination of cultures)

Content:

-Bahram Gur went on the court of Hind disguised so he could observe the kingdom and its civilians

-king tricks him into showing his true identity and decided to send him away by making him slay a karg (horned wolf)- Barham pierces the wolf with arrows and cuts off his head

-this folio shows Bahram after he has defeated the wolf- confident and relaxed

Function:

-expresses political power attempting to legitimize the Elkhanid's claim to Iranian kingship

-shows the ideal king (crown and halo)

Context:

-folio from the Great II-Khanid

-1330-1340 CE (Islamic/Persian)

-from the Book of Kings

190. The Court of Gayumars

Form:

-ink, opaque watercolor, and gold on paper

-clothing identifies who they are not their faces

-minute scale drawing and detail

Content:

-opening page of the Shahnama

-Gayumar is surrounded by his son and grandson he looks down on the court to address them

Function:

-telling ancient history of Persia

Context:

-folio from Shah Tahmasp's Shahnama

-artist: Sultan Mohammad

-1522-1525 CE

191. the Arbabil Carpet

Form:

-many many details

-silk and wool carpet

-central sunburst medallion creates illusion of a heavenly dome with lamps reflection in a pool of water full of lotus flowers

-slightly symmetrical

Content:

-two different lamps suspended from the ceilings

-one panel with inscription that tells you who made it and when

Function:

-made for the funerary shrine of Safi al-Din Ardabil

-prayer carpet

Context:

-Maqsud of Kashan 1539-40 CE

-one in a pair of carpets

192. Great Stupa at Sanchi

Form:

-mandala plan (map of the cosmos)

-sandstone

Content:

-4 gateways

-hemispherical dome

-yakshis and yakshus- nature goddess/god

Function:

-monastery

-reliquary mound holds Siddhartha's relics

-symbolic representations of the Buddha (footprints, lion, elongated pathway, empty seat)

-no actual pictures of Buddha's face

-show inclusiveness of Buddhism

Context:

-300-100 BCE Madya Pradesh, India

-late Sunga dynasty

193. Terracotta warriors

Form:

-lifesize painted terra cotta warriors

Content:

-warriors with individual faces but same bodies

Function:

-funerary art

-express imperial power and authority

Context:

-Qin Dynasty in China

-221-209 BCE

194. Funeral banner of Lady Dai (Xin Zhui)

Form:

-T-shaped painted silk banner

-over 6' long

-set in registers

-depth shown

-naturalistic scenes not just abstract shapes

-bi: disc with a hole that represents the sky

Content:

-registers represent the 3 layers of the universe

-Lady Dai stands on platform with her servants as she is pictured ascending into heaven

-dragons frame the scene on both sides

-sacrificial funerary rituals shown taking place in a mourning hall in the bottom register

Functions:

-put over the tomb

Context:

-Han Dynasty, China- 180 BCE

195. Longmen caves (grottoes)

Form:

-limestone

-guardians and vajrapani are more in motion and engaging figures

Content:

-110k Buddhist statues, 60 stupas, 2800 inscriptions carves on steles

-the Vairocana Buddha (representing the celestial Buddha) with bodhisattva, a heavenly king, and a thunderbolt holder on the sides

Function:

-signifies the arrival of Buddhism in China

Context:

- Luoyang, China- Tang Dynasty

- 493-1127 CE

196. Gold and jade crown

Form:

-metal work with gold and jade

Content:

-3 prongs in the back; prongs look like antlers coming out the sides

-jade pieces hanging down- connected by thin wiring

Function:

-queen crown

Context:

-found in tomb of a queen

-Silla Kingdom, Korea

-Three Kingdoms Period

-5th-6th century CE

197. Todai-ji

Form:

-bronze and wood (sculpture)

-wood and ceramic roofing (architecture)

-bracketing system to support the roof

-massive pillars

-contrapposto stance of the Nios (powerful, dynamic bodies)

Content:

-50' tall wood statues: Ungyo (open mouth) and Agyo (closed mouth)

-Colossal Buddha image (bronze)

Function:

-Buddhist temple

-meant to meditate with the Buddha statue

-expression of Buddhism and State mixing in Japan

Context:

-743 CE rebuilt 1700 CE

-various artists of Kei school

-commissioned by emperor Shopu

-Nara, Japan 1st imperial capital, end of Silk Road

198. Borobudur Temple

Form:

- relief sculptures

- elevates

- clockwise up and around

Content:

-72 stupas, 1460 reliefs, 9 platforms in sets of 3, 504 Buddha statues

-narrate Buddha's teachings

-Jataka tales (Buddha's past lives)

Function:

-built as monument to Buddha

-pilgrimage site/shrine

-narrative guides you

-physical and spiritual journey to higher state of consciousness

Context:

-Buddha- poet, thinker, and architect of this temple

-Saliendra dynasty commissioned this (the leaders of maritime power

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom

Form:

-Panchayatana plan (one main room with 4 surrounding, on a platform)

-Mandala (cosmic map of the world)

-Enter a grand space

-Corbelled gallery roofing

Content:

-Water surrounding temple

-Angkor Thom: Buddhist part

-Angkor Wat: Hindu part

-Sculptures in rhymic dance poses

-Horror vacui of sculptural reliefs

Function:

-Meant to be a tomb, express the divine power of a leader

-Built complex to show his power and might

Context:

-Hindu and Buddhist parts of a medieval capital of Cambodia

-Cambodia, Hindu, Angkor Dynasty 800-1400 CE

200. Lakshamana Temple

Form:

-Sandstone

-Axial plan

-Panchayatana temple type: Configuration of 5 rooms is the typical setup for Indian temple

-High base/platform

-Deep entrance porch

-Complex horizontal banding crosses the ribs of the tower

Content:

-Series of rooms

-Tallest part of building: marks spot of most important part of building (inner sanctuary that holds the image)

-4 shrines/chapels around main room

-Lion statues (symbols of male figures)

-Murti: embodied image of a divine figure

-Mandapa: hall

-Sensuous couple (controversial figures): shows deeper connection with gods

Function:

-Hindu temple dedicated to Vishnu

-Mandir temple: Space that is the house for gods (in this case, for Vishnu)

-place of worship, the divine endowed in its idealized architectural form

Context:

-Chandella Dynasty 950 CE

-Khajuraho, India (North Central India)

201. Travelers among Mountains and Streams

Form:

-hanging scroll (see all at once)

-ink and colors on silk

-in proper scale

-Neo-Confucianism ideals

Content:

-Chinese landscape (no specific place)

-waterfall, travelers, boulders, trees, mist

Function:

-reverence for rocks and stone because of their "chi" (energy)

-evoke Buddha

-after long period of political disunity

Context:

-artist: Fankuan (scholarly artist)

-Song Dynasty, China

-1000 CE

202. Shiva's Lord of Dance

Form:

-cast bronze

-stance signifies refuge for troubled soul

Content:

-Shiva: destroyer god-keeps us from afterlife, but also creator

-flaming circle crushing Apas mara (dwarf)

-Hindu trinity: Brahma (creator), Vishnu (preserver), Shiva (destroyer/transformer)

-Wedas: sacred texts of Hinduism

Function:

-shows the never-ending cycle of life Indians believe in

-immortal symbol that in this physical world there will always be ignorance or things we have to overcome

Context:

-Hindu, India

-Chola Dynasty 1000-1100 CE

203. Night Attack on the Sanjo Palace

Form:

-combining image and text

-Yamato-e: high vantage points, strong angles, cropping, narrative scroll

-read right to left

-strong angles

-handscroll

-extraordinary detail

Content:

-rival families (Fujiwara and Minamoto) attack the Taira clan and defeat them

-establish shotgun empire

-battle: 1159

-extreme detail of armor, weaponry, war tactics

-struggles between emperor and rising shogons

Function:

-turning point in Japanese history

Context:

-piece made 1250-1300 CE

-Karamkura Period, Japan

204. David Vases

Form:

-Mongolian style

-white porcelain with cobalt blue underglaze from Iran

-2 1/2 feet tall

-text

Content:

-peonies= prominent scrolling flower

-inscription with date, location, temple, patron, and purpose

-phoenix and dragon balanced (symbol of Daoist faith- ying and yang)

-elephant handles

Function:

-made for Daoist temples to honor a military leader who was diefied

-expression of Silk Road

-held flowers beside an altar

Context:

-apart of wealthy man's collection

-1351 CE

-Yuan Dynasty, Mongol Empire

-Beijing, China

205. Portrait of Sin Sukju

Form:

-crisp and angular lines

-color characterization

-hanging scroll

-ink and color on silk

-possible collaborative pice

Content:

-head slightly turned (1 ear shown)

-rank badge worn on front and back

-peacocks with plants and cloud

-intellectual scholar

-seated in specific chair

Function:

-respect for one's elders and ancestors

-officially honors for his distinguished service @ court and loyalty to the King during hard times

-portrait cherished by descendants

Context:

-Imperial Bureau of Painting, Korea

-1417-1475 CE

206. Forbidden City

Form:

-Stone masonry, marble, brick, wood, and ceramic tile

-Layout based on Chinese philosophy

-Certain palette to signify (dark red-sun, yellow-earth, blue-heaven)

Content:

-30 ft. tall walls surrounding the city

-Moat around the wall

-Series of bridges

-Front Gate (Mao Zedong's portrait over doorway), Meridian Gate

-Private realm: where the royal family lives (outer and inner court)

Numbers everywhere

-Complex of roughly 100 buildings, 9000 rooms

Function:

-Express that the emperor is the Son of heaven

-Political and ceremonial center for nearly 500 years

-Main building: to discuss the issues of the state

-Importance of numbers spiritually

-Walls provide privacy and protection for the families

Context:

-Largest political complex in the world

-City at center of a city

-Beijing, China, Ming Dynasty 15th century CE-later

207. Ryoan-ji

Form:

-asymmetrical

-abstract

-gravel=flowing elements

-stones=islands, shore, bridges

Content:

-15 stones

-raked stone garden

-monastery (Zen Buddhist monks)

-mirror pond

Function:

-can only enter garden through your mind (spiritually enter)

-power of emptiness

-each rock is a different visual "pull"

-Zen seated meditation

Context:

-1480 CE, Kyoto, Japan

-Muramachi Period

-Zen Buddhist

208. Jahangir Preferring a Sufi Shaikh to Kings

Form:

-texts, geometry, natural world

-Persian traditions

-proportions play into importance

Content:

-manuscript pages

-Mugal leader sitting on throne

-text describing reign

-children dressed up

-guy at bottom is the court artist

-Suffi: Muslim mystic giving gift to Jahangir

-combo of the sun and moon symbolizing ruler's emperorship and divine truth

Function:

-Mughal painting skill

-cross-cultural nature of Art

-artist puts himself at lowest class

Context:

-artist: Bichitr (Hindu)

-1620 CE

-signed

209. Taj Mahal

Form:

-Iwan

-Onion domes

-cross axial plan

-fused aspects of other Islamic traditions

-marble, stone masonry

-stone inlay

-symmetrical harmony

Content:

-charbagh- Persion garden into 4 quadrants representing paradise on Earth

-flowing water throughout

-Arabic text from the Quran

-chartriss

-mosaics

-cenotaphs: inscriptions (symbol of tombs, tombs are actually empty)

-minarets

Function:

-resting place for Shah Jahan's wife, Mumtaz Mahal

-India 1632-53 CE

-architect: Usted Ahmad Lahori

-Mughal Empire

210. White and Red Plum Blossoms

Form:

-ink, watercolor, gold leaf

-swirling illusion of expansion

-byobu: painted screen

-rich colors/gold

Content:

-swirling water

-nature/flowers alongside

-early spring

-two flowering trees

-vantage points

-turns simple landscape theme into dream vision

Function:

-rimpa school painting

-painted screen

Context:

-1710-16 CE Japan

-artist: Ogata Korin

-Edo period

211. Under the Wave off Kanagawa

Form:

-polychrome and woodblock priint made of ink and color on paper

-Ukiyo-e: Japanese woodblock prints made during Edo Period

-part of series of 36 showing Mt. Fuji in each

-genre scene in series/travel

-flat colors, high angles, cropped, large foreground, nature specific

-large foreground

Content:

-text: name of series, artist, censor's seal

-crashing wave (dragon claws)

-Mt. Fuji in background (small in comparison)

Function:

-show moutain and wave's resemblance

-show Dutch influence

-genre scenes in seires'travel of the sacred Mount Fiji

Context:

-artist: Katsushika Hokusai

-1830-33 CE Edo Period

212. Chairman Mao en Route to Anyuan

Form:

-Propaganda

-Portraiture

-Socialist realism (clear, intelligible subject/emotionally moving themes)

Content:

-Mao on way to organize a coal worker/miner strike

-Portrait of Mao (oil paint)

-Telephone poll and water cascades from a dam (modernity)

-Chinese landscape

-Umbrella under his arm

Function:

-Used Chinese landscape to portray that Mao was capable of leading a revolution

-Combatting tradition Chinese art but still not modern

-Mao as a person working for the people

Context:

-based on oil painting by Lui Chunhua

-artist unknown 1969 CE