Art History Ancient Mediterranean

Narmer Palette

• Relief sculpture depicting King Narmer and a unified Upper and Lower Egypt.

• Use of hierarchy of scale.

• Palette used to prepare eye makeup for the blinding sun.

• Scholars believe that the palette conflates actions taking many years into one event.

Great Pyramids

• Each pyramid has a funerary complex adjacent connected by formal pathways used for carrying the dead pharaoh’s body to the pyramid to be interred.

• The shape may have been influenced by a sacred stone relic, called the benben, shaped like a sacred stone found at the Heliopolis.

• Monumental burial structures built for pharaohs, representing their divine status and serving as a means for their journey into the afterlife.

Great Sphinx

• Very generalized features, although some say it may be a portrait of Khafre, whose pyramid stand behind the Sphinx.

• Carved in situ from a large rock, symbol of the sun god.

• Cats are royal animals in Ancient Egypt, probably because they saved the grain supply from mice.

• A monumental limestone statue with a lion's body and a human head.

• Serves as a guardian figure, embodying strength and wisdom.

Akhenaten, Nefertiti, and Three Daughters

• State religion changed by Akhenaten from Amun to Aton, symbolized by the sun-disk with a cobra.

• State religion changed by a shift indicated by an evolving style in Egyptian art:

  • Smoother, curved surfaces.

  • Low hanging bellies.

  • Slack jaws.

  • Thin arms.

  • Epicene bodies.

  • Heavy lidded eyes

• It portrays the king, his queen Nefertiti, and their daughters, surrounded by rays of light from the sun-disk Aton, suggesting a close familial bond and the divine nature of their rule.

Innermost Coffin of Tutankhamun

• Famous tomb discovered by Howard Carter in 1922.

• Mummified body of King Tut buried with 143 objects on his head, neck, abdomen, and limbs; gold mask placed over head.

• Holds a crook and flail, symbols of Osiris.

• Son of Akhenaten, his father and mother were brother and sister; his wife was his half-sister; perhaps physically handicapped caused by genetic inbreeding.

• The innermost coffin was a gilded wooden sarcophagus that housed the mummified remains of the young pharaoh, adorned with intricate gold and lapis lazuli, and served as his final resting place.

Mortuary Temple of Hatshepsut

• Visually coordinated with natural setting; long horizontals and verticals of the terraces and colonnades repeat the patterns of the cliffs behind; patterns of dark and light in the colonnade are reflected in the cliffs.

• It is dedicated to the Egyptian queen Hatshepsut, featuring impressive architecture and artistic depictions of her reign, emphasizing the connection between the royal lineage and the divine.

Queen Hatshepsut with Offering Jars

• One of 200 statues placed around the complex.

• Male pharaonic attributes: false beard and kilt.

• Queen represented in male costume of a pharaoh, yet slender proportions and slight brests indicate femininity.

Temple of Amun

• Hypostyle hall.

• Columns elaborately plated.

• Massive lintels bind the columns together.

• Axial plan.

• Tallest columns have papyrus capitals; have a clerestory to allow some light and air into the darkest parts of the temple.

• Ancient Egyptian temple dedicated to the god Amun, known for its grand hypostyle hall, intricate architectural details, and spiritual significance in the religious practices of ancient Egypt.

Last Judgement of Hu-Nefer

• Illustration from the book of the dead, an Egyptian book of spells and charms.

• The god of embalming, Anubius, has a jackal’s head. He leads the deceased named Hu-Nefer into a hall where his soul is being weighted against a feather. If the sins weigh more than a feather, he will be condemned.

White Temple and its Ziggurat

• Deity was Anu, god of the sky, the most important Sumerian deities.

• Temple on top was small, set back, and removed from the populace; accessed reserved for royalty and clergy, only bas of temple remains.

• On top of the ziggurat is a terrace for outdoor rituals; temple for indoor rituals.

• Massive terraced structure built in ancient Mesopotamia, characteristic of Sumerian architecture. It served as a religious center and symbol of the city's relationship with the divine, featuring platforms for worship and rituals.

Standard of Ur

• Two sides: war and peace; may have been two halves of a narrative; early example of a historical narrative.

• War side: Sumerian king half a head taller, has descended from his chariot to inspect captives brought before him, some debased by their nakedness; chariots advance over the dead in the lowest register

• Peace side: Food brought in procession to a banquet; musician playing a lyre; ruler wears kilt made of tufts of wool; larger than others.

• Organized in registers; figures stand on ground lines; reads from bottom to top.

Stele of Hammurabi

• Hammurabi 1792-1750 united Mesopotamia in his lifetime.

• Contains one of the earliest written law codes.

• Sun god, Shamash, enthroned on a ziggurat and handing Hammurabi a rope, ring, and the rod of kingship.

Lamassu from the Citadel of Sargon II

• Human-headed animal guardian figure.

• Winged

• Five legs: when seen rom front seems to be standing at attention; when seen from the side, it seems to be walking by you as you walk by it.

• Meant to ward off enemies both visible and invisible.

• Mythical creature in ancient Mesopotamian art.

Persepolis

• Built not so much as a complex of palaces but rather as a seat for spectacular receptions and festivals.

• Giant lamassu gates inscribed as “The Gate of All Nations”

• Relief sculptures depict delegations from all parts of the empire bringing gifts to be stored in the local treasury.

• Audience hall: Apandana, had 36 columns covered by a wooden roof; held thousands of people; used for the king’s receptions; stairways adorned with reliefs of the New Years festival and a procession of representatives with 23 subject nations.

Athenian Agora

• A plaza at the base of the Acropolis in Athens that contained commercial, civic, religious, and social buildings; ceremonies took place here.

• It served as a center for public life and democratic activities in ancient Athens, facilitating trade, political discussions, and cultural events that shaped Athenian society.

Anavysos Kouros

• Grave marker.

• Not an actual portrait, general representation.

• Emulates stance of Egyptian sculpture, but is nude; arms and legs laregly cut from stone.

• Archaic Greek statue representing a young man, often used in funerary contexts.

• Reflects the evolving artistic style of the period with a focus on idealized human form.

Doryphoros (Spear Bearer)

• Alternating tense and relaxed elements of the body; left arm and right leg are relaxed, right arm and left leg are tensed.

• He averts his gaze; you may admire him, but he does not recognize the admiration.

• This statue exemplifies Polykleitos' canon of proportions, showcasing the ideal human form through mathematical harmony.

Seated Boxer

• Older man, past his prime, mostly defeated look.

• Smashed nose; lips sunken in to suggest broken teeth.

• Blood denoted in coppe; dripping from his face and onto his right arm and thigh.

• Great emotion.

Tomb of the Triclinium

• Named after a triclinium, an ancient Roman dining table, which appears in the fresco.

• Banqueting couples recline, eating in the ancient manner.

• Ancient convention of men painted in darker colors than women.

• Perhaps a funeral banquet is intended, but the emotions are of celebration.

• This tomb from the Etruscan civilization features elaborate frescoes that depict a lively banquet scene, reflecting cultural practices surrounding death and the afterlife.

Sarcophagus of the Spouses

• Depicts the ancient tradition of reclining while eating in which men and women ate together, unlike in Greece.

• Symbiotic relationship: man has his arm around women: the women feeds the man.

Temple of Minerva

• Temple made of mud brick and wood.

• Steps in front direct attention to the deep porch, entrance emphasized, made of wood.

• Three doors represent three gods; division of interior into three spaces.

Statues of Votive Figures

• Small carved figures typically made of clay or stone, used as offerings in ancient Near Eastern cultures.

• They represent worshippers and are often depicted in a praying posture, intended to serve as intermediaries between the devotee and the deity.

Niobedes Krater

• A large ceramic vessel from Ancient Greece, decorated with scenes from the myth of Niobe, showcasing the death of her children by Apollo and Artemis.

• The krater exemplifies the artistic style of the Classical period, illustrating both narrative and emotional depth in its painted imagery.

Grave Stele of Hegeso

• A funerary monument from Ancient Greece, depicting Hegeso examining a piece of jewelry from a servant.

• The stele is notable for its detailed representation of women and its elegant drapery, symbolizing the importance of women in funerary practices.

Winged Victory of Samothrace

• A Hellenistic sculpture depicting the goddess Nike, known as the Winged Victory, created to commemorate a naval victory.

• The statue is celebrated for its dynamic pose and intricate drapery, representing triumph and the spirit of victory.

Great Altar of Zeus and Athena at Pergamon

• A monumental altar from the Hellenistic period, located in Pergamon, Turkey, dedicated to Zeus and Athena.

• It is renowned for its grandeur and intricate relief sculptures that depict the battle between the gods and giants, showcasing the artistic excellence of the era.

House of the Vettii

• A well-preserved Roman house located in Pompeii, famous for its elaborate frescoes and rich decoration.

• It provides insights into the lifestyle and social structure of wealthy Romans during the time of the eruption of Mount Vesuvius.

Alexander Mosaic from the House of Faun

• A stunning floor mosaic from Pompeii, depicting the battle between Alexander the Great and Darius III of Persia.

• This artwork showcases the intricate craftsmanship of Roman mosaics and highlights the influence of Greek art.

Head of a Roman Patrician

• A hyper-realistic marble sculpture representing an elderly male member of the Roman aristocracy.

• This type of sculpture exemplifies the Roman practice of verism, focusing on realistic facial features and age to convey wisdom and experience.

Augustus of Prima Porta

• A marble statue of the Roman Emperor Augustus, showcasing him in a contrapposto stance, dressed in military garb.

• This sculpture symbolizes his power and authority, featuring elaborate details that illustrate his divine origin and connection to the gods.

Colosseum (Flavian Amphitheater)

• An iconic amphitheater located in Rome, known for its grandeur and capacity to hold thousands of spectators for public spectacles such as gladiatorial games and other events.

• It represents the architectural ingenuity of ancient Rome and is a symbol of the empire's power and entertainment culture.

Forum of Trajan

• A large public space in Rome, constructed under Emperor Trajan, serving as a center for political, social, and economic activities.

• It featured impressive architecture, including the Basilica Ulpia and the Column of Trajan, showcasing the empire's grandeur.

Pantheon

• A former Roman temple, now a church, in Rome, known for its massive dome and oculus that illuminates the interior.

• It represents the architectural brilliance of ancient Rome and has been in continuous use throughout its history.

Ludovisi Battle Sarcophagus

• A Roman sarcophagus dating back to the 3rd century AD, famous for its intricate reliefs depicting a battle scene, showcasing the conflict between Romans and Goths.

• It exemplifies the dramatic and artistic styles of late Roman sculpture.