978-0134479262 Part 3 | Course Paper

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

typically “paint” (or create through other means) on wall spaces in today’s

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?

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)

The Good Shepherd with Adam and Eve

After the Fall (Fig. 7–7)

7

40

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

41

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 “story” must 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.)

42

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

43

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

44

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.

45

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:

9

46

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

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)

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?

6. How did luxury arts, such as ceramic, glass, and metalwork, develop in Muslim

Key Terms

48

2. A distinctive development in Islamic ceramic work was the production of

49

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

50

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

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?

4. Three major styles of Buddhist art developed in Southeast India over the first

Key Terms

52

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?

53

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

54

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 Ci’en

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?

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

56

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

57

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.