Terms and facts- Hierarchical scale From the Prehistoric and Neolithic- Post and Lintel, Megalith, tumulus, henge From Mesopotamia- The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or Stela From Minoa- Labrys, The myth of King Minos and the Minotaur From Mycenae- Corbelled vaults and domes, repousse, Tholos, Megaron, krater From Ancient Egypt- Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna Period From Ancient Greece- Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design) Know the seven steps to lost wax casting Know the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capital The two styles of Greek vase painting-black figure and red figure-the basic differences in look You should look up exam one of these myths and know the basic story or the main story about the character listed: Prometheus and Fire Apollo and Daphne Pygmalion and Galatea Niobe Persephone and Hades Pandora Tantalus-Son of Zeus The Danaides Alcyone and Ceyx Idas and Marpessa The Fall of Icarus Theseus and the Minotaur Perseus and the Medusa Jason and Medea Hercules and the Stymphalian Birds Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES

Seven steps in the lost-wax casting process

Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polishGateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Archaic Greek Temple

Figure 5-12 Plan of a typical Greek temple. The CELLA, is the room where the deity’s sculpture would have been housed. Think harmony, balance and order. Proportional exactness helped achieve this harmony and order. Order in the world, art and the cosmos Despite its grandeur, the Greek temple was elegantly simple in floor plan, stressing order through symmetry, balance

4 Diagram of the Classical architectural orders

Diagram of the Classical architectural orders, differentiating between the Doric, Ionic, and Corinthian. Key parts of Greek temple design, such as the pediment, stylobate, entablature, frieze, capital, column, shaft, and base are also identified EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei Vaticani, Rome.

Now we see a whole scene and no hierarchy at all. Still some patterning used. This is black figure pottery on this large vessel- amphora.

6 EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche Antikensammlungen, Munich.

Red figure painting could allow more artistic choice and detail. There could even be differences in the red hues.

Note the ¾ view of theis figure, an early foray into foreshortening, so a sense of the figures exist in a space is achieved now.

7 Landscape with volcano eruption, wall painting

Landscape with volcano eruption, Çatalhöyük, Turkey, c. 6150 BCE. Wall painting: Ankara Museum of Anatolian Civilizations, Turkey. Watercolor copy: Private collection Considered to be the first landscape painting known showing the town layout, volcano reference at the top can be the one from an earlier Neolithic town 60 miles away, since no volcano is near Chatal Hoyuk. Chatal Hoyuk means “forked mound”. Chapter 3.1 The Prehistoric and Ancient Mediterranean PART 3 HISTORY AND CONTEXT Hieroglyphics Often images of objects, but can represent ideas or sounds The Rosetta Stone, discovered in 1799, made the translation possible Hieroglyphics Demotic Greek

Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Stele of Hammurabi. c. 1760 BCE. 7 ‘ x 28” Hammurabi, King of Babylon reunited Mesopotamia and instituted the Code of Hammurabi, a comprehensive set of laws addressing nearly all aspects of both civil and criminal offenses. Hammurabi is portrayed receiving the laws directly from Shamash the sun god. (a parallel to Moses). Shamash is the dominate figure— he is seated on his throne, wears a crown and has flames issuing from his shoulders. Although Hammurabi is subservient to the god he still makes a powerful authority statement by addressing the god directly. Even though he has his hand raised in reverence he shows that he has a personal relationship with the gods while mere mortals do not. The Phaistos Disc 2000 BCE. There are 45 characters on the disc. Pressed deals into the wet clay to print.First printed text ever found Written language is called “Linear A” Figure 1-4 Nude woman (Venus of Willendorf), from Willendorf, Austria, ca. 28,000– 25,000 BCE. Limestone, 4 1/4” high. Naturhistorisches Museum, Vienna.

12 Found in a grain storage vessel. She is flanked by two feline animals, believed to be leopards. Fertility figure and mother goddess of both birth and crops. Many more female deities are found at this time and place than male counterparts.

Seated Goddess of Catal Hoyuk 6000 BCE Clay 16.5 cm Figure 4-13 Snake Goddess, from the palace at Knossos (Crete), Greece, ca. 1600 BCE. Faience, 1’ 1 1/2” high. Archaeological Museum, Irakleion. ART ACTIVITY

Labrys – Double-headed axe attributed to matriarchal power and female divinities later to sacrifice and male power in other cultures 14 Newgrange Ireland (Bru na Boinne) 3200 BCE

The roofbox lets in the light, illuminating the interior during the solstices. Corbelled vault. Exterior of the Treasury of Atreus (looking west), Mycenae, Greece, ca. 1300- 1250 BCE.

16 Largest dome constructed for over 1400 years. 43 feet high, 50 feet wide.

Tholos (tomb) or Treasury of Atreus 1250 B.C.E. Above – corbelled vault construction. 17 •THE AKKADIANS

Figure 2-13 Victory stele of Naram-Sin, set up at Sippar, Iraq, found at Susa, Iran, 2254–2218 BCE. Pink sandstone, 6’ 7” high. Musée du Louvre, Paris. Shown leading his army, King Naram-Sin is wearing the horned headdress signifying divinity First time Mesopotamian king shown as a god Three stars overhead, looks like he is scaling his way to the heavens Not in a horizontal format, but still hierarchical in scale

18 Figure 3-1 Judgment of Hu-Nefer, detail of an illustrated Book of the Dead, from the tomb of Hunefer, Thebes, Egypt, 19th Dynasty, ca. 1290-1275 BCE. Painted papyrus scroll, 1’ 3 ½” high; full scroll 18’ ½” long. British Museum, London. Know what is going on in the scene depicted. Positioning and portrayal of the bodies as a hallmark of Egyptian painted imagery.

19 Figure 3-2/3 Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, 3000–2920 BCE. Slate, 2’ 1” high. Symbolized the unification of Upper and Lower Egypt. On the left Narmer is slaying two foes at once, the man and the falcon, a symbol for the pharoah. The two interwined necks of the animals on the right – again unification symbology DEPICTED A HISTORICAL PERSON, HIERARCHICAL ORDER OR SCALE, AND THE SETTING OF THE BODY’S STYLE OF DEPICTION. A start of the canon of artistic laws for Ancient Egypt in the depiction of the pharaoh, other humans, space, decoration, action, etc.

20 Pyramids at Giza: from left to right, the pyramids of Khufu, Khafre, and Menkaure Giza (Gizeh) Video Link https://www.youtube.com/watch?v=q6fyAn9Ea_I SCULPTURE OLD KINGDOM

Figure 3-13 Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston.

22 Kouros, from Attica, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York.

23 Doryphoros of Polykleitos

•Originally titled Canon – a set of artistic laws to achieve perfection, harmony, beauty, the ideal •Established Polykleitos’ canon of proportions, setting ideal correlations among body parts derived from Pythagorus geometry and musical harmony theories and ratios •Contrapposto and counterbalance •Notice the harmony of opposites

POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Archeologico Nazionale, Naples.

24 Aphodite of Knidos, PRAXITELES

•Bold step to render a goddess in the nude •Sensuous and humanizing qualities – different from the cold, aloof gods and athletes of the High Classical

PRAXITELES, Aphrodite of Knidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome.

25 ABOVE Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1” long

Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome. 26 Note in the later Classical and Hellenistic Periods how this statue does not depict an “ideal”. More of a true to life human with emotion, seated casually. Note the smashed nose, age. Greece is being taken over soon after Alexander the Great by Rome

Seated boxer, ca. 100–50 BCE. Bronze, 4’ 2” high. Museo Nazionale Romano– Palazzo Massimo alle Terme, Rome. 27