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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
58
Key Terms
dogu
marks of a buddha
joined-block
lotus flower
mandala
yamato-e
lotus throne
kondo
raigo
chakra
reliquary
Active Learning Assignments
1. Select three representations of Buddha from Chapter 12 to compare and contrast
with examples from Chapters 10 and 11. How does the figural treatment of
Buddha change from Southeast Asian cultures, to Chinese or Korean traditions,
to Japanese representations? What do these changes signify about religious
beliefs from region to region or era to era? What changes can be seen across
these examples in terms of medium and style?
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
59
CHAPTER THIRTEEN
ART OF THE AMERICAS BEFORE 1300
Chapter-at-a-Glance
• The Rise of Civilizations in the Americas
• Mesoamerica and Central America | The Olmec | Teotihuacan |
The Maya | Central America
Art and Its Contexts: The Cosmic Ballgame
Art and Its Contexts: Maya Writing
A Closer Look: Shield Jaquar and Lady Xok
• South America: The Central Andes | Chavin de Huantar |
The Paracas and Nazca Cultures | The Moche Culture
Technique: Andean Textiles
• North America | The East | The Woodland Period |
The Mississippian Period | The Southwest
Learning Objectives
By the end of this chapter, the student will be able to:
13.a Identify the visual hallmarks of the art of early cultures in the Americas for
13
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60
Transition Guide
Images Removed from the
5th Edition Images Added to the 6th Edition
Offering 4, La Venta (Fig. 13-1)
Offering 4, La Venta (Fig. 13-1)
Ceremonial Center of the City of
Teotihuacan (Fig. 13-4)
Ballcourt (Fig. 13-2)
Pyramid of the Feathered Serpent (Fig.
13-6)
Ceremonial Center of the City of
Teotihuacan (Fig. 13-6)
Bloodletting Ritual (Fig. 13-7)
Pyramid of the Feathered Serpent
(Fig. 13-8)
Palace (Foreground) and Temple of the
Inscriptions, Palenque (Fig. 13-9)
Feathered Serpent and Flowering
Trees (Fig. 13-9)
Portrait of Pakal the Great (Fig. 13-11)
Palace (Foreground) and Temple of
the Inscriptions, Palenque (Fig. 13-
11)
Ballcourt (Fig. 13-12)
Burial Mask of Pakal the Great (Fig.
13-13)
Earth Drawing (Geoglyph) of a
Hummingbird, Nazca Plain (Fig. 13-18)
Earth Drawing (Geoglyph) of a
Hummingbird, Nazca Plain (Fig. 13-
19)
Hunter’s Mural (Fig. 13-29)
”Cliff Palace” (Fig. 13-29)
Ancient Ruins in the Canyon de Chelley
(Fig. 13-30)
Hunter’s Mural (Fig. 13-31)
Discussion Topics and Critical Thinking Questions
1. Olmec culture produced distinctive sculpture in the form of colossal carved
heads. Describe the presumed purpose of these figures, their material and
method of production, and visual characteristics. How does the medium enhance
the subject matter?
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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
62
CHAPTER FOURTEEN
ARTS OF AFRICA TO THE SIXTEENTH CENTURY
Chapter-at-a-Glance
• The Origins of Art in Africa | Concepts | Prehistoric Arts
• North and East Africa | Ancient Nubia (Sudan) | Ethiopia | Tunisia
• West and Central Africa | Mali | Nigeria | Cameroon |
Republic of the Congo, Democratic Republic of the Congo, and Angola
Technique: Lost-Wax Casting
• Southern Africa | Zimbabwe | South Africa
• International Art Trade | North and East Africa | West and Central Africa |
Southern Africa
Learning Objectives
By the end of this chapter, the student will be able to:
14.a Identify the visual hallmarks of the art of pre-1600 cultures in Africa for
14
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63
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Map 14-1
Map 14-1
Dancers in Ceremonial Attire (Fig. 14-2)
Quartzite Slabs Depicting Animals (Fig.
14-2)
Section of San Rock Wall Painting (Fig.
14-4)
“Game Pass” Shelter (Fig. 14-3)
Burial Chamber (Fig. 14-5)
Dancers in Ceremonial Attire (Fig. 14-4)
Ritual Vessel (Fig. 14-6)
Colossal Statue of King Aspelta (Fig.
14-5)
Memorial Head of an Oba (Fig. 14-7)
Pyramids at Meroë (Fig. 14-6)
Photograph of an Altar (Fig. 14-8)
Eusebius’s Letter to Carpianus (Fig. 14-
8)
Senior Town Chief (Fig. 14-11)
Roman Amphitheater at el Jem (Fig.
14-9)
Oba Erediauwa (Fig. 14-12)
Great Mosque of Kairouan (Fig. 14-10)
Great Friday Mosque (Fig. 14- 14)
Great Mosque at Djenné (Fig. 14-11)
Drawing of Great Enclosure, Great
Zimbabwe (Fig. 14-15)
Mousgoum Family Enclosure with
Teleuk Houses (Fig. 14-17)
Zoomorphic Head (Fig. 14-18)
“The Bansa, or Residence of the King of
Kongo, Called São Salvador” (Fig. 14-
18)
Site of Great Zimbabwe (Fig. 14-21)
Mapungubwe Gold Rhino (Fig. 14-23)
Lidded Saltcellar (Fig. 14-25)
Trade Bead Card (Fig. 14-26)
Discussion Topics and Critical Thinking Questions
1. How did the geography and climate across the African continent shape diverse
cultures’ production of objects and architectural sites? Identify key examples that
also define specific regions or eras of civilizations.
6. How have powerful figures within African cultures (royalty, tribal chiefs) been
represented through cultural objects and art?
7. Islam and Christianity intersect in early African art history, along with ancient
creation beliefs. In what ways can these influences be seen or used to interpret
African objects or architectural sites?
8. How did the history of European contact and the opening of African trade affect
the production of cultural objects for export? Identify examples (materials,
methods of production, visual features).
Key Terms
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65
CHAPTER FIFTEEN
EARLY MEDIEVAL ART IN EUROPE
Chapter-at-a-Glance
• The Early Middle Ages
Art and Its Contexts: Defining the Middle Ages
• “Barbarians” in Europe | The Merovingians | The Norse |
Celts and Anglo-Saxons in Britain
Recovering the Past: Sutton Hoo
• The Early Christian Art of the British Isles | Illustrated Books |
Irish High Crosses
Art and Its Contexts: The Medieval Scriptorium
• The Viking Era | Carving in Wood and Stone |Timber Architecture
• Mozarabic Art in Spain | Beatus Manuscripts
• The Carolingian Empire | Architecture | Illustrated Books | Metalwork
A Closer Look: Psalm 23 in the Utrecht Psalter
• Ottonian Europe | Architecture | Sculpture | Illustrated Books
Learning Objectives
By the end of this chapter, the student will be able to:
15.a Identify the visual hallmarks of Early Medieval art for formal, technical, and
Transition Guide
Images Removed from the 5th
Edition
Images Added to the 6th Edition
Carpet Page, Lindisfarne Gospel Book
(Fig. 15-6)
15
Discussion Topics and Critical Thinking Questions
1. The fall of Roman power and impacts of invading cultures across the continent
shaped and reshaped Christian artistic traditions. Where did the barbarians come
from? How can the influences of pagan peoples be seen in works produced over
the early medieval period? Identify types of objects that reflect this history, and
explain notable features.
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67
Active Learning Assignments
1. Look closely at chapter illustrations of objects crafted from precious metals,
stones, and jewels (for example, Figs. 15-2, 15-3, 15-4, 15-23). What types of
objects were produced from these materials and for what purposes? How would
they have been made? Describe key elements of their design, ornamental
features, and significance as cultural or religious works.
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
68
CHAPTER SIXTEEN
ROMANESQUE ART
Chapter-at-a-Glance
• Romanesque Europe | Political, Economic, and Social Life |
The Church
• Romanesque Architecture | “First Romanesque” |
Pilgrimage Churches | Relics and Reliquaries | Cluny |
The Cistercians | Regional Styles in Romanesque Architecture |
Secular Architecture
Art and Its Contexts: The Pilgrim’s Journey to Santiago
Art and Its Contexts: St. Bernard and Theophilus:
The Monastic Controversy over the Visual Arts
• Romanesque Sculpture | Wiligelmo at the Cathedral of Modena |
The Priory Church of Saint-Pierre at Moissac |
The Church of Saint-Lazare at Autun | Sculpture in Wood and Bronze
Elements of Architecture: The Romanesque Church Portal
A Closer Look: The Last Judgment Tympanum at Autun
• Textiles and Books | Chronicling History | Sacred Books
Learning Objectives:
By the end of this chapter, the student will be able to:
16.a Identify the visual hallmarks of Romanesque art for formal, technical, and
16
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69
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Transept Interior, Cathedral of St. James,
Santiago de Compostela (Fig. 16-5)
Nave, Cathedral of St. James,
Santiago de Compostela (Fig. 16-5)
Church Interior of the Abbey of Notre-
Dame, Fontenay (Fig. 16-9B)
Church Interior of the Abbey of
Notre-Dame, Fontenay (Fig. 16-9B)
Interior, Speyer Cathedral (Fig. 16-16)
Interior, Speyer Cathedral (Fig. 16-
16)
Dover Castle (Fig. 16-19)
Dover Castle (Fig. 16-19)
The Romanesque Church Portal (A Closer
Look)
The Romanesque Church Portal (A
Closer Look)
Discussion Topics and Critical Thinking Questions
1. How did pilgrimage routes develop in Western Europe, and which sites were
particularly important? How did the spread of such travel impact development of
those places, particularly for the building of key structures? What types of trade
or artisan work were also impacted?
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
70
8. How are historical events or figures from the Romanesque period memorialized in
art or through cultural objects? Which events and individuals are captured for
posterity through imagery in any medium?
Key Terms
transverse arches
keep
trumeau
lantern
tympanum
hieratic
baldacchino
archivolts
historiated capitals
jambs
Active Learning Assignments
1. Regional architectural styles developed in the Romanesque period, expressed
through adaptations to earlier structures as well as “new” construction. Among
notable examples is Speyer Cathedral for its mix of Ottonian and Carolingian
features; it was also the largest Romanesque structure ever built. Review the
2. During the Romanesque period, women featured significantly in the production of
artwork or other cultural objects and records, as well as in depictions of human
or spiritual activities. Trace through the “story” and illustrations spanning
Chapter 16 to focus on this angle of history.
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71
CHAPTER SEVENTEEN
GOTHIC ART OF THE TWELFTH AND
THIRTEENTH CENTURIES
Chapter-at-a-Glance
• Gothic Europe | The Rise of Urban and Intellectual Life |
The Age of Cathedrals
• France and the Origins of the Gothic Style |
The Birth of Gothic at the Abbey Church of Saint-Denis |
The Cathedral of Notre-Dame at Chartres |
The Cathedral of Notre-Dame at Reims | Villard de Honnecourt |
Art in the Age of St. Louis
Elements of Architecture: Rib Vaulting
Technique: Stained-Glass Windows
Art and Its Contexts: Abbot Suger on the Value of Art in Monasteries
Art and Its Contexts: Master Masons
Elements of Architecture: The Gothic Church
• England | Manuscript Illumination| Architecture
A Closer Look: Psalm 1 in the Windmill Psalter
• Germany and the Holy Roman Empire | Architecture | Sculpture
• Italy | Sculpture of the Pisano Family | Painting
Learning Objectives
By the end of this chapter, the student will be able to:
17
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72
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Exterior of the Great Hall, Stokesay
Castle (Fig. 17-27)
Exterior of the Great Hall, Stokesay Castle
(Fig. 17-28)
Shrine of the Three Kings (Fig. 17-
31)
Shrine of the Three Kings (Fig. 17-32)
Discussion Topics and Critical Thinking Questions
1. The Gothic period emerged during a time of considerable social and political
change. How did the evolving social and political environment of the twelfth and
thirteenth centuries encourage the development of the Gothic style in
architecture? What changes were most influential in the formation of the Gothic
cathedral?
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73
Key Terms
rib vaulting
rose windows
quatrefoils
cartoon
plate tracery
bar tracery
grozing
triforium
mullions
cames
tracery
hemicycle
flying buttress
stringcourses
hall church
lancets
pinnacles
polychromy
Active Learning Assignments
1. The Gothic style of architecture represented a considerable shift in the structure,
function, and decoration of the cathedral. Compare the Romanesque Cathedral of
St. James, Santiago de Compostela (Figs. 16-4 and 16-5) and the Gothic
Chartres Cathedral (Figs. 17-4, 17-5, and 17-6). Compile a list of differences,
considering both interior and exterior changes. For each change, hypothesize
how the changing role and function of the church in the Gothic period might have
influenced or necessitated that change.
2. During the Gothic period, artists became increasingly sophisticated in their ability
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74
CHAPTER EIGHTEEN
FOURTEENTH-CENTURY ART IN EUROPE
Chapter-at-a-Glance
• Fourteenth-Century Europe
Art and Its Contexts: A New Spirit in Fourteenth-Century Literature
• Italy | Florentine Architecture and Metalwork | Florentine Painting |
Sienese Painting
Technique: Buon Fresco
Technique: Cennino Cennini on Panel Painting
Art and Its Contexts: The Black Death
• France | Manuscript Illumination | Metalwork and Ivory
A Closer Look: The Hours of Jeanne d’Évreux |
• England | Embroidery: Opus Anglicanum | Architecture
• The Holy Roman Empire | Mysticism and Suffering |
The Supremacy of Prague
Learning Objectives
By the end of this chapter, the student will be able to:
18.a Identify the visual hallmarks of fourteenth-century European art for formal,
Transition Guide
Images Removed from the
5th Edition
Images Added to the 6th Edition
Scrovegni (Arena) Chapel, View
Toward East Wall (Fig. 18-7)
Scrovegni (Arena) Chapel, View
Toward East Wall (Fig. 18-7)
18
Discussion Topics and Critical Thinking Questions
1. Ambrogio Lorenzetti’s frescos in the Palazzo Pubblico depict systems of good
government in the city and the country. What can we determine about
fourteenth-century ideas of government? What differences can we detect about
the role of government in the life of a city dweller and a resident of the
countryside?
Key Terms
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76
Active Learning Assessments
1. The Baptistery in Florence was a site of great importance to the city. The
commission for Andrea Pisano’s bronze doors represented a considerable
investment of time and resources. The resulting depictions of scenes from the life
of St. John the Baptist contain both elements of the Gothic style and of a new
naturalism. Examine The Baptism of the Multitude (Fig. 18-4) as a class and then
create a chart that lists the evidence for both the Gothic and the emerging
Renaissance styles.
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77
CHAPTER NINETEEN
FIFTEENTH-CENTURY ART IN
NORTHERN EUROPE
Chapter-at-a-Glance
• The Northern Renaissance
• Art for the French Ducal Courts |
Painting and Sculpture for the Chartreuse de Champmol |
Manuscript Illumination | Textiles
Art and Its Contexts: Altars and Altarpieces
• Painting in Flanders | The Master of Flémalle | Jan van Eyck |
Rogier van der Weyden | Painting at Mid Century: The Second Generation |
Hugo van der Goes and Hans Memling
Technique: Oil Painting
A Closer Look: A Goldsmith in His Shop
• France | Jean Fouquet and Jean Hey | Flamboyant Architecture
• The Germanic Lands | Painting and Sculpture | The Graphic Arts |
Printed Books
Technique: Woodcuts and Engravings on Metal
Learning Objectives
By the end of this chapter, the student will be able to:
19.a Identify the visual hallmarks of fifteenth-century Northern European art for
19
