978-0134479262 Part 4 | Course Paper

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?

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

60

Transition Guide

Images Removed from the

5th Edition Images Added to the 6th Edition

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?

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

63

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

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

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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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.

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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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)

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?

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.

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

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?

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

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

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.

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