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WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
Influence of Science on Ancient Greek Sculptures
www.idosr.org Ahmed ©IDOSR PUBLICATIONS International Digital Organization for Scientific Research ISSN: 2579-0765 IDOSR JOURNAL OF CURRENT ISSUES IN SOCIAL SCIENCES 6(1): 45-49, 2020. Influence of Science on Ancient Greek Sculptures Ahmed Wahid Yusuf Department of Museum Studies, Menoufia University, Egypt. ABSTRACT The Greeks made major contributions to math and science. We owe our basic ideas about geometry and the concept of mathematical proofs to ancient Greek mathematicians such as Pythagoras, Euclid, and Archimedes. Some of the first astronomical models were developed by Ancient Greeks trying to describe planetary movement, the Earth’s axis, and the heliocentric system a model that places the Sun at the center of the solar system. The sculpture of ancient Greece is the main surviving type of fine ancient Greek art as, with the exception of painted ancient Greek pottery, almost no ancient Greek painting survives. The research further shows the influence science has in the ancient Greek sculptures. Keywords: Greek, Sculpture, Astronomers, Pottery. INTRODUCTION The sculpture of ancient Greece is the of the key points of Ancient Greek main surviving type of fine ancient Greek philosophy was the role of reason and art as, with the exception of painted inquiry. It emphasized logic and ancient Greek pottery, almost no ancient championed the idea of impartial, rational Greek painting survives. Modern observation of the natural world. scholarship identifies three major stages The Greeks made major contributions to in monumental sculpture in bronze and math and science. We owe our basic ideas stone: the Archaic (from about 650 to 480 about geometry and the concept of BC), Classical (480-323) and Hellenistic mathematical proofs to ancient Greek [1]. -
Indian Art History from Colonial Times to the R.N
The shaping of the disciplinary practice of art Parul Pandya Dhar is Associate Professor in history in the Indian context has been a the Department of History, University of Delhi, fascinating process and brings to the fore a and specializes in the history of ancient and range of viewpoints, issues, debates, and early medieval Indian architecture and methods. Changing perspectives and sculpture. For several years prior to this, she was teaching in the Department of History of approaches in academic writings on the visual Art at the National Museum Institute, New arts of ancient and medieval India form the Delhi. focus of this collection of insightful essays. Contributors A critical introduction to the historiography of Joachim K. Bautze Indian art sets the stage for and contextualizes Seema Bawa the different scholarly contributions on the Parul Pandya Dhar circumstances, individuals, initiatives, and M.K. Dhavalikar methods that have determined the course of Christian Luczanits Indian art history from colonial times to the R.N. Misra present. The spectrum of key art historical Ratan Parimoo concerns addressed in this volume include Himanshu Prabha Ray studies in form, style, textual interpretations, Gautam Sengupta iconography, symbolism, representation, S. Settar connoisseurship, artists, patrons, gendered Mandira Sharma readings, and the inter-relationships of art Upinder Singh history with archaeology, visual archives, and Kapila Vatsyayan history. Ursula Weekes Based on the papers presented at a Seminar, Front Cover: The Ashokan pillar and lion capital “Historiography of Indian Art: Emergent during excavations at Rampurva (Courtesy: Methodological Concerns,” organized by the Archaeological Survey of India). National Museum Institute, New Delhi, this book is enriched by the contributions of some scholars Back Cover: The “stream of paradise” (Nahr-i- who have played a seminal role in establishing Behisht), Fort of Delhi. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
The Cradle of Humanity: Prehistoric Art and Culture/ by Georges Bataille : Edited and Introduced by Stum Kendall ; Translated by Michelle Kendall and Stum Kendall
The Cradle of Humanity Prehistoric Art and Culture Georges Bataille Edited and Introduced by Stuart Kendall Translated by Michelle Kendall and Stuart Kendall ZONE BOOKS · NEW YORK 2005 � 2005 UrzoneInc ZONE B001[S 1226 Prospect Avenue Brooklyn, NY 11218 All rights reserved. No pm of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying, microfihning,recording, or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright uw and except by reviewers for the public press) without written permission from the Publisher. Printed in the United States of America. Georges Bataille's writings are O Editions Gallimard, Paris. Distributed by The MIT Press, Cambridge, Massachusetts, and London, England Library of Congress Cataloging-in-Publication Data Bataille, Georges, 1897-1962 The cradle of humanity: prehistoric art and culture/ by Georges Bataille : edited and introduced by Stum Kendall ; translated by Michelle Kendall and Stum Kendall. P· cm. Includes bibliographical references. ISBN 1-890951-55-2 l. Art, prehistoric and science. I. Kendall, Stuart. II. Title. N5310.B382 2004 709'.01 -dc21 Original from Digitized by UNIVERSITY OF CALIFORNIA Google Contents Editor's Introduction: The Sediment ofthe Possible 9 A Note on the Translation 33 Primitive Art 35 I The Frobenius Exhibit at the Salle Pleyel 45 II A Visit to Lascaux: A Lecture at the Sociiti d'A9riculture, Sciences, Belles-Lettres III et Arts d'Orlians 47 The Passa9efrom -
Ancient Art and Archeology: the Copenhagen Collections DIS – Study Abroad in Scandinavia | Related Disciplines: Art History, Classics
Final Syllabus Ancient Art and Archaeology Instructor: Thyge C. Bro Credits: 3 credit course Majors: Archaeology, Art History, Classics, History B3: Tuesdays and Fridays 11:40 – 13:00 Class-room: F24 - 406 Ancient Art and Archeology: The Copenhagen Collections DIS – Study Abroad in Scandinavia | Related Disciplines: Art History, Classics Final Syllabus This course focuses on the art and archaeology of ancient Greece and Rome from c. 1000 B.C. to c. A.D. 300, as it can be experienced through the collections in museums in Copenhagen. Stylistic and iconographical developments, as well as cultural meaning and historical context will be emphasized. The students will have the unique opportunity to study some of the finest collections of Greek and Roman art outside Greece and Italy. A substantial part of this course will take place observing firsthand the Collections of the Danish National Museum and the Ny Carlsberg Glyptotek. Both museums are well known for their collections: the Ny Carlsberg Glyptotek for its Greek sculptures and Roman portraits, and the National Museum for its Greek vases. Both have large collections of all kinds of objects from the ancient Mediterranean. By studying in these world-class museums, student will also gain a better understanding of musicological issues and methodology. Over the centuries a unique art and architecture developed and matured in first Greece and later in the Roman Empire. The many aspects of ancient Greek art can best be studied through two media: vase painting and sculpture. Greek vase painting developed over time; changing pattern of color and shape, showing gods and heroes, and is our best illustration to scenes from daily life. -
Of the Chinese Bronze
READ ONLY/NO DOWNLOAD Ar chaeolo gy of the Archaeology of the Chinese Bronze Age is a synthesis of recent Chinese archaeological work on the second millennium BCE—the period Ch associated with China’s first dynasties and East Asia’s first “states.” With a inese focus on early China’s great metropolitan centers in the Central Plains Archaeology and their hinterlands, this work attempts to contextualize them within Br their wider zones of interaction from the Yangtze to the edge of the onze of the Chinese Bronze Age Mongolian steppe, and from the Yellow Sea to the Tibetan plateau and the Gansu corridor. Analyzing the complexity of early Chinese culture Ag From Erlitou to Anyang history, and the variety and development of its urban formations, e Roderick Campbell explores East Asia’s divergent developmental paths and re-examines its deep past to contribute to a more nuanced understanding of China’s Early Bronze Age. Campbell On the front cover: Zun in the shape of a water buffalo, Huadong Tomb 54 ( image courtesy of the Chinese Academy of Social Sciences, Institute for Archaeology). MONOGRAPH 79 COTSEN INSTITUTE OF ARCHAEOLOGY PRESS Roderick B. Campbell READ ONLY/NO DOWNLOAD Archaeology of the Chinese Bronze Age From Erlitou to Anyang Roderick B. Campbell READ ONLY/NO DOWNLOAD Cotsen Institute of Archaeology Press Monographs Contributions in Field Research and Current Issues in Archaeological Method and Theory Monograph 78 Monograph 77 Monograph 76 Visions of Tiwanaku Advances in Titicaca Basin The Dead Tell Tales Alexei Vranich and Charles Archaeology–2 María Cecilia Lozada and Stanish (eds.) Alexei Vranich and Abigail R. -
Summary Life in the Shang Dynasty Shang Rulers and Gods Top 10
Summary Life in the Shang Dynasty Map showing the expanse of the Shang Dynasty Shang society was divided into different classes. At the top Did you know? were the royal family, and then priests and administrative Warriors were able to join The Shang Dynasty, also known as the Yin between 1523 and 1028 BCE. THE UPPER classes. Members of the aristocracy were well-respected, and the upper classes. The CLASSES more successful they were Dynasty, ruled the Yellow River Valley in the had clothes made from the finest materials. They were often in battle, the higher they second millenium BCE (approx 1675-1046BCE). given the responsibility of governing small areas. could rise! Life was very different for peasants, who were at the bottom Did you know? The Shang Dynasty succeeded the Xia Dynasty of the social ladder. The majority of the population was in this THE LOWER Peasants were governed and was followed by the Zhou Dynasty. bracket were limited to farming crops and selling handmade by local aristocrats, and CLASSES had little hope of leaving items for a profit. Some lower classes were buried with their masters, leading archaeologists to believe they were slaves. their life of peasantry. It was the first Chinese Dynasty for which there is Shang people ate a varied diet! The basic food was millet, a Did you know? written and archaeological evidence. type of grain, but barley and wheat were also grown. Shang The people of the Shang FOOD farmers were also skilled, growing vegetables and beans. Fish Dynasty also kept domesticated animals, The Dynasty expanded its territory and moved were caught in the rivers, and some animals (for example deer such as pigs, dogs, goats its capital city on several occasions. -
The Cult of Guangze Zunwang and Its Religious Network in the Chinese Diaspora, 19Th Century—2009
SACRED TIES ACROSS THE SEAS: THE CULT OF GUANGZE ZUNWANG AND ITS RELIGIOUS NETWORK IN THE CHINESE DIASPORA, 19TH CENTURY—2009 CHIA MENG TAT JACK (B.A. (Hons.), NUS) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF SINGAPORE 2009 ii Acknowledgements Truly, those who are good people are thankful and grateful. Vinaya IV 55 Many people and institutions have assisted me in the course of writing this thesis, and I am truly grateful to all of them. First of all, I wish to thank my advisor, Assoc Prof Huang Jianli, for his guidance, fatherly concern, and for reading the earlier drafts and making many insightful suggestions. I am grateful to Assoc Prof Thomas DuBois for his encouragement, friendship, and sound advice throughout my education at the National University of Singapore (NUS). I give my heartfelt thanks to Dr Quek Ser Hwee for her constant encouragement and helpful guidance. Many teachers have taught me over the past few years, but a few do deserve special mention: Barbara Andaya, Tim Barnard, Beatrice Chong, Ian Gordon, Hong Lysa, Bruce Lockhart, Shelley Low, Tony Reid, Sai Siew Min, and Yang Bin. They have taught me what it takes to be a good history teacher. I am very grateful to the administrative staff and graduate community at the Department of History for making my two years of graduate studies so fun and enjoyable. Kelly Lau, our friendly graduate secretary, has provided me with a great deal of assistance and helpful advice. Guo Jingyu, Hu Wen, Edgar Liao, Liu Guoyi, Ng Eng Ping, Pang Yang Huei, Robin Chee, Shu Shengqi, Wang Luman, Wei Bingbing, Yang Shaoyun, Yang Zhiqiang, Jackie Yoong, and Zhang Jing, are just few of the many who have constantly helped and supported me.