978-0134479262 Part 3

subject Type Homework Help
subject Pages 14
subject Words 1819
subject Authors Marilyn Stokstad, Michael W. Cothren

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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
38
7. What types of decorative or functional objects developed in Roman metalwork
(for example, in bronze or silver)? What production techniques were required to
produce these examples?
8. How did carving expand in techniques and applications in Etruscan and Roman
art? Identify a range of examples, methods, and materials. How do these
techniques compare to those of Greek sculpture?
Key Terms
cistae
buttressing
palette
atrium
centering
cartouches
roundels
springings
drillwork
pilasters
impost blocks
barrel vault
Tuscan order
spandrels
groin vault
Composite order
arcade
dome
plinth
bay
oculus
dado
engaged
basilica
verism
mausoleum
nave
rounded arches
forum
rotunda
thrust
impluvium
exedrae
voussoirs
intuitive perspective
undercutting
keystone
atmospheric perspective
Active Learning Assignments
1. Reexamine design elements and imagery featured in Roman wall paintings (Figs.
6-28. 6-29, 6-30, 6-31, 6-32, 6-33, and 6-34). Given their prominence in Roman
residential interiors, how do their characteristics compare to what we would
typicallypaint(or create through other means) on wall spaces in todays
homes? Are there other design contexts for us today in which we might use the
types of imagery we see in the Roman examples? What can we assume about the
values and desires of the Romans through their wall paintings?
2. How does Roman mythology inform subjects, imagery, and interpretation of
works of art in Chapter 6 (for example, Figs. 6-1, 6-4, 6-11, 6-22, 6-29, 6-66, 6-
70, and 6-71)? How do these representations compare to the Greeks’ inclusion of
mythological imagery?
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39
CHAPTER SEVEN
JEWISH AND EARLY CHRISTIAN ART
Chapter-at-a-Glance
Judaism and Christianity in the Late Roman World | Early Jewish Art |
Early Christian Art
A Closer Look: The Mosaic Floor of the Beth Alpha Synagogue
Imperial Christian Architecture and Art in Rome | Old St. Peter’s |
Santa Sabina | Santa Costanza | Sarcophagus of Junius Bassus
Art and Its Contexts: Naming Christian Churches: Designation + Dedication
+ Location
Art and Its Contexts: The Life of Jesus
Ravenna and Thessaloniki | The Oratory of Galla Placidia in Ravenna|
The Rotunda Church of St. George in Thessaloniki
Learning Objectives
By the end of this chapter, the student will be able to:
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
The Good Shepherd with Adam and
Eve After the Fall (Fig. 7-6)
7
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Discussion Topics and Critical Thinking Questions
1. How are early Jewish beliefs and practices reflected in surviving paintings and
sculpture? What modern discoveries have aided scholars’ understanding of that
history?
Key Terms
catacomb
orant
pilgrimage church
halo
lunette
relics
narrative image
cubicula
spolia
iconic image
medallion
ambulatory
narthex
longitudinal plan
putti
cathedral
central plan
pietà
Eucharist
abbey church
oratory
syncretism
aisles
cruciform
transept
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Active Learning Assignments
1. As Chapter 7 explains, syncretism (artists assimilating images from other
traditions, consciously or not, but giving them new meanings) is evident in early
Christian art. To appreciate this feature of art history, review background for this
concept in “The Early Church.Looking back to Chapter 6, identify two to three
examples of “borrowings" from Tuscan and Roman Art evident in Jewish or early
Christian images. What changes in meaning or context occurred as these images
were carried along in history?
2. Narrative images in which an event from history, religion, or mythology is
depicted are central to the cultural memories of many cultures across ancient
eras. Begin by reviewing Chapter 7 for background on narrative conventions seen
in Jewish wall paintings of house-synagogues, particularly Figure 7-3, Wall with
Torah Niche, and Figure 7-4, The Crossing of the Red Sea. Identify storytelling
elements within these complex narrative scenes. For example, how is action
depicted? How is the passing of time or sequences of the story implied? How are
characters distinguished within scenes of the story? How is the hero
distinguished from other figures? What types of imagery or visual details create
the larger context for the story?
With these elements in mind, select one or two examples of narrative scenes
featured in previous chapters that utilize similar techniques. (Hint: Consider
narrative works in any medium, such as paintings, sculpted relief panels, or
ceramics.) While each storymust be interpreted in specific cultural or religious
contexts, can we also see universal elements across these examples? Explain
through visual evidence.
3. Carefully examine the small sculpture featured in The Good Shepherd (Fig. 7-9).
Identify connecting elements of figural representation, composition, imagery, and
sculptural technique between this object and sculptural works of Classical
Greece. Identify examples from Chapter 5. (Hint: Consider free-standing marbles
and relief carvings, such as Figure 5-50, Grave Stele of a Little Girl.)
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CHAPTER EIGHT
BYZANTINE ART
Chapter-at-a-Glance
Early Byzantine Art | The Golden Age of Justinian | Luxury Objects |
Icons | Iconoclasm
Elements of Architecture: Pendentives and Squinches
Middle Byzantine Art | Architecture and Wall Painting in
Mosaic and Fresco | Precious Objects of Commemoration,
Veneration and Devotion
A Closer Look: Icon of St. Michael the Archangel
Late Byzantine Art | Constantinople: The Chora Church | Icons
Learning Objectives
By the end of this chapter, the student will be able to:
8.a Identify the visual hallmarks of Byzantine art for formal, technical, and
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
The Monastery of St. Catherine, Sinai
(Fig. 8-10)
The Monastery of St. Catherine, Sinai
(Fig. 8-10)
Lamentation with Standing Monastic
Saints Below (Fig. 8-23)
Lamentation with Standing Monastic
Saints Below (Fig. 8-23)
8
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Discussion Topics and Critical Thinking Questions
1. Byzantine conventions of representation differ significantly from Jewish and early
Christian traditions. Identify Byzantine examples that illustrate these differences
for the portrayal of human figures. How do their characteristics reflect Byzantine
faith and practice?
Key Terms
conches
manuscript
iconophiles
naos
parchment
painterly
galleries
vellum
enamel
pendentives
codex
psalter
squinches
miniatures
cloisonné
martyrium
illuminated
one-point perspective
mandorla
continuous narrative
scriptoria
iconoclasm
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Active Learning Assignments
1. Begin by reviewing “The Golden Age of Justinian” in this chapter. Look especially
at the background on the construction of the Hagia Sophia in Constantinople, San
Vitale in Ravenna, and the Monastery of St. Catherine on Mount Sinai. Consider:
What were the emperor's goals for these sites? How did those goals relate to the
design of the structure and the subsequent artwork? In turn, how did those
elements lead to innovations in the construction and engineering of the building?
2. Review “Iconoclasm” and “Precious Objects of Commemoration, Veneration, and
Devotion,” in this chapter. Carefully examine each of the illustrations, identifying
which elements of these objects serve the primary purpose of veneration or
narration versus details that seem mostly decorative in function. In other words,
can the subjects of these objects be separated from their design features? How
do their materials and methods of construction relate to these functions? From
this preparation, create an illustrated oral report to present your analysis.
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CHAPTER NINE
ISLAMIC ART
Chapter-at-a-Glance
Islam and Early Islamic Society | The Five Pillars of Islam
Early Islamic Art and Architecture | The Dome of the Rock |
The Great Mosque of Damascus | The Great Mosque of Cordoba |
Minbar from the Kutubiya Mosque in Marrakesh | Calligraphy |
Developments in Ceramics
Art and Its Contexts: Ornament
Elements of Architecture: Arches
Regional Dynasties | The Mamluks in Egypt | The Nasrids in Spain |
The Timurids in Iran, Uzbekistan, and Afghanistan
A Closer Look: A Mamluk Glass Oil Lamp
Art and Architecture of Later Empires | The Ottomans |
The Safavid Dynasty
Technique: Carpet Making
Into the Modern Era
Learning Objectives
By the end of this chapter, the student will be able to:
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Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
The Kaaba, Mecca (Fig. 9-2)
The Kaaba, Mecca (Fig. 9-2)
Cut tile detail from Shah-I Zinda,
Samarkand, Technique: Ornament
Cut tile detail from Shah-I Zinda,
Samarkand, Art and Its Contexts:
Ornament
Interior, Dome of the Rock (Fig. 9-4)
Interior, Dome of the Rock (Fig. 9-4)
The Great Mosque, Kairouan (Fig. 9-5)
View from Above of the Great Mosque,
Damascus (Fig. 9-5)
Court of the Lions, Alhambra (Fig. 9-15)
Mosaics on the Courtyard Arcade of the
Great Mosque, Damascus (Fig. 9-6)
Muqarnas Dome, Hall of the
Abencerrajes, Palace of the Lions,
Alhambra (Fig. 9-16)
Court of the Lions, Alhambra (Fig. 9-20)
Shah-I Zinda Funerary Complex (Fig. 9-
18)
Muqarnas Dome, Hall of the
Abencerrajes, Palace of the Lions,
Alhambra (Fig. 9-21)
Garden Carpet (Fig. 9-29)
Shah-I Zinda Funerary Complex (Fig. 9-
23)
Mosque at New Gourna (Fig. 9-30)
Painted Ceramic Dish with Birds and
Flowers (Fig. 9-29)
Islamic Mosque and Cultural Center,
Rome (Fig. 9-31)
Ardibil Carpet (Fig. 9-31)
Islamic Mosque and Cultural Center,
Rome (Fig. 9-33)
Discussion Topics and Critical Thinking Questions
1. How did events in the early history of Islam influence figural and non-figural art
traditions? What distinctive design practices and contexts evolved in Islamic
religious and secular culture?
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6. How did luxury arts, such as ceramic, glass, and metalwork, develop in Muslim
Key Terms
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2. A distinctive development in Islamic ceramic work was the production of
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CHAPTER TEN
ART OF SOUTH AND SOUTHEAST ASIA BEFORE 1200
Chapter-at-a-Glance
The Origins of Civilization in South Asia | The Indus Civilization |
The Vedic Period
The Flourishing of Buddhism and Hinduism | Buddhism |
The Maurya Period | The Period of the Shunga and Early Satavahana |
The Kushan Period | Hinduism | The Gupta Period and Its Successors |
Other Developments, Fifth to the Seventh Centuries | The Pallava Period |
The Eighth Through Twelfth Centuries | The Chola Period
Elements of Architecture: Stupas and Temples
A Closer Look: The Great Departure
Art and Its Contexts: Mudras
Early Art and Architecture of Southeast Asia | Early Southeast Asia |
Sixth to the Ninth Century | Tenth to the Twelfth Century
Learning Objectives
By the end of this chapter, the student will be able to:
10.a Identify the visual hallmarks of South and Southeast Asian art for formal,
10
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Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Ashokan Pillar (Fig. 10-1)
Ashokan Pillar (Fig. 10-1)
Large Water Tank, Mohenjo-Daro (Fig.
10-3)
Large Water Tank, Mohenjo-Daro (Fig.
10-3)
Female Figure Holding a Fly-Whisk (Fig.
10-7)
Female Figure Holding a Fly-Whisk (Fig.
10-7)
Stupa 1 (The Great Stupa) at Sanchi
(Fig. 10-8)
Stupa 1 (The Great Stupa) at Sanchi
(Fig. 10-8)
Yakshi Bracket Figure (Fig. 10-9)
Yakshi Bracket Figure (Fig. 10-10)
Standing Buddha (Fig. 10-12)
Exterior of Chaitya Hall, Karle (Fig. 10-
11)
Vishnu Temple, Deogarh (Fig. 10-14)
Standing Buddha (Fig. 10-16)
Bodhisattva (Fig. 10-17)
Vishnu Temple, Deogarh (Fig. 10-14)
Cave-Temple of Shiva, Elephanta (Fig.
10-21)
Bodhisattva (Fig. 10-19)
Eternal Shiva (Fig. 10-22)
Cave-Temple of Shiva, Elephanta (Fig.
10-23)
Dharmaraja Ratha, Mamallapuram (Fig.
10-23)
Eternal Shiva (Fig. 10-24)
Cat in Yogic Posture (Fig. 10-25)
Dharmaraja Ratha, Mamallapuram (Fig.
10-25)
Kailasha Temple, Ellora (Fig. 10-26)
Cat in Yogic Posture (Fig. 10-27)
Kandariya Mahadeva Temple, Khajuraho
(Fig. 10-27)
Kailasha Temple, Cave 16, Ellora (Fig.
10-28)
Rajarajeshvara Temple of Shiva,
Thanjavur (Fig. 10-30)
Kandariya Mahadeva Temple,
Khajuraho (Fig. 10-29)
Loro Jonggrang (Fig. 10-36)
Rajarajeshvara Temple of Shiva,
Thanjavur (Fig. 10-32)
Ananda Temple (Fig. 10-38)
Loro Jonggrang (Fig. 10-38)
Angkor Wat (Fig. 10-40)
Ananda Temple (Fig. 10-40)
Angkor Wat (Fig. 10-42)
Discussion Topics and Critical Thinking Questions
1. How are the regions of South and Southeast Asia defined geographically? Which
ancient cultures developed across these regions? How does the geography
compare to that of other earlier civilizations?
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4. Three major styles of Buddhist art developed in Southeast India over the first
Key Terms
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2. Relief carving on monumental structures preserves rich details of the past, calling
for close examination and careful reading of their narratives. Look carefully at
the background on Descent of the Ganges (Fig. 10-26) and Cat in Yogic Posture
(Fig. 10-27). Can this relief be compared in overall form, site, figural
composition, visual arrangement, or the narrative process to reliefs created by
cultures studied in earlier chapters, such as in Chapter 2, Chapter 3, or Chapter
6? Despite important differences in cultural history and beliefs, are there any
commonalities between the ways in which cultures chose to express their worlds
through monumental narrative carvings?
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CHAPTER ELEVEN
CHINESE AND KOREAN ART BEFORE 1279
Chapter-at-a-Glance
The Middle Kingdom | Neolithic Cultures
Bronze Age China | Shang Dynasty | Zhou Dynasty
Technique: Piece-Mold Casting
Art and Its Contexts: Chinese Characters
Early Chinese Empires | Han Dynasty | Philosophy and Art |
Six Dynasties
Art and Its Contexts: Daoism
Art and Its Contexts: Confucius and Confucianism
A Closer Look: A Reception in the Palace
Sui and Tang Dynasties | Buddhist Art and Architecture |
Tang Figure Painting and Ceramics
Elements of Architecture: Pagodas
Art and Its Contexts: The Silk Road During the Tang Period
Song Dynasty | Philosophy: Neo-Confucianism | Northern Song Painting |
Southern Song Painting and Ceramics
The Arts of Korea | The Three Kingdoms Period | The Unified Silla Period |
Goryeo Dynasty
Learning Objectives
By the end of this chapter, the student will be able to:
11
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Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Ceramic Soldiers (Fig. 11-1)
Terra-Cotta Soldiers (Fig. 11-1)
Tomb Model of a House and Tower (Fig.
11-9)
Tomb Model of a House and Tower
(Fig. 11-10)
Seated Buddha, Cave 20, Yungang (Fig.
11-12)
Seated Buddha, Cave 20, Yungang
(Fig. 11-13)
Nanchan Temple, Wutaishan (Fig. 11-15)
Nanchan Temple, Wutaishan (Fig.
11-16)
Great Wild Goose Pagoda at Ci1’en
Temple Chang’an (Fig. 11-16)
Great Wild Goose Pagoda at Cien
Temple Chang’an (Fig. 11-17)
Map 11-2 Korea
Discussion Topics and Critical Thinking Questions
1. Pottery and carved jade are important developments in early Chinese history.
Identify materials, production techniques, and notable examples from Neolithic
cultures. What do these objects and their iconography reveal about the cultures
that created them?
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8. Discuss the movement of Buddhism from South and Southeast Asia through
China and Korea as reflected in art. In what ways are Korean treatments of
Buddhist figures distinctive to that cultural history?
Key Terms
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CHAPTER TWELVE
JAPANESE ART BEFORE 1333
Chapter-at-a-Glance
The Origins of Art in Japan | Jomon Period | Yayoi Period | Kofun Period |
Shinto | Writing, Language, and Culture
Asuka and Nara Periods | Horyuji | Nara Period
Art and Its Contexts: Buddhist Symbols
Heian Period | Esoteric Buddhist Art | Pure Land Buddhist Art |
Secular Painting and Calligraphy
Technique: Joined-Block Wood Sculpture
A Closer Look: The Tale of Genji
Kamakura Period | A Battle Handscroll | Pure Land Buddhist Art |
Zen Buddhist Art
Art and Its Contexts: Arms and Armor
Learning Objectives
By the end of this chapter, the student will be able to:
12.a Identify the visual hallmarks of early Japanese art for formal, technical, and
12
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Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Great Buddha Hall (Daibutsuden), Todaiji,
Nara (Fig. 12-8)
Phoenix Hall, Byodoin, Uji (Fig. 12-
9)
The Buddha Shaka, Detail of a Paradise
Scene (Fig. 12-9)
Amida Buddha (Fig. 12-10)
Phoenix Hall, Byodoin, Uji (Fig. 12-11)
Scene from the Tale of Genji (Fig.
12-11)
Amida Buddha (Fig. 12-12)
Scene from the Tale of Genji (A Closer
Look)
Kuya Preaching (Fig. 12-16)
Discussion Topics and Critical Thinking Questions
1. Explain the significance of haniwa in the Kofun period of Japanese history. What
was their function? How were they made? What forms did they take? Describe
typical characteristics of figural examples.

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