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AP Art History
Test 1
Woman from Willendorf
• Found in Austria, c. 22,000 BCE• Fertility figure• Proportional changes for
childbearing• Small scale; People = migratory
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Paleolithic
Paleolithic
Hall of Bulls• Found in Lascaux Caves, France, c.
15,000 BCE• Limestone• Contour lines, creates mass & rhythm• Most animals alive• Less than 1% humans
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Stonehenge
•Discovered in Salisbury Plain, England c. 2700-1500 BCE
•People had permanent food supply; no longer migratory
•Had a funeral component
•Some stones are from Wales
•It had at least 4 major building phases
•Stonehenge is site specific for the summer solstice June 21
•Circle is 97’ in diameter
•Uses post and lintel
Neolithic
Ziggurat of Ur
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•C.2100 BCE
•Structures proclaimed the wealth, prestige, and stability of a city’s rulers and glorified its protective gods.
•They functioned symbollically as brgidges between he earth and the heaens - a meeting place for humans and their gods.
•Only priests were allowed in the Ziggurat
•This ziggurat was dedicated to the moon god Nanna
•The mud-brick structure was elevated by design, not as the result of successive rebuildings.
Uruk Vase• C. 3000 BCE; modern day Iraq; made of
alabaster• Near Eastern sculptors told their stories
by organizing picture space into registers or bands
• Its lower registers show the natural world, beginning with plants and water
• Above them on the solid groundline, rams and ewes alternate
• In the middle register, are nude men carrying baskets of food stuff
• In the top register Inanna is accepting an offering from a naked priest
• The scene is usually interpreted as the ritual marriage between the goddess and a human during the fall New Year’s Festival
• Hieratic scale is shown as Nanna dominates the scene
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Votive Figures
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•C. 2700 from Modern day Iraq
•Images dedicated to the gods
•They represent an early example of an ancient Near Eastern relgious practice: the placement ina shrine of simple, small statues of individual worshipers before a larger, more elaborate image of a god.
•Each sculpture served as a stand-in, at perpetual attention, making eye contact, and chanting its donor’s praises through eternity.
•Sculptors followed the conventions of Sumerian art: representing forms with simplified faces and bodies and dress that emphasized the cylindrical shapes.
The Great Lyre with Bull’s Head• C. 2500 Was found in the tomb of King
Meskalamdug of Ur.• The bearded bull is intensely lifelike despite the
blue beard• The lyre is made of wood, gold, silver, lapis,
bitumen, and shell• On the panel below the head are four
horizontal registers depicting a banquet in the realm of the dead.
• Some of the harp imagery may have been inspired by the Epic of Gilgamesh
• Because the lyre was used in funeral rites, its imagery probably depicts the fantastic realm of the dead, offerings to the goddess of the underworld, or a funeral banquet
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Victory Stele of Naram-Sin
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•C. 2250 BCE from Susa (Iran) made of sandstone
•The concept of imperial authority was carved in this stone slab, commemorating a military victory of Naramsin, Sargon’s grandson
•It is an early example of art created to celebrate the achievements of an individual ruler
•Horizontal registers were replaced with wavy groundlines.
•The images stand on their own with no explanatory inscription, but the godlike king is easily recognizable.
•He is watched over by 3 solar deities and wears the horned crown. He stands at the center of the scene and is the largest.
Stele of Hammurabi• C. 1780 from Susa (Iran) made of basalt; 7 feet 28
inches.• One of Hammurabi’s greatest accomplishments was
the first systematic codification of his people’s rights, duties, and punishments for wrondoing.
• This stele speaks to us both as a work of art that depicts a legendary event and as a historical document that records a conversation about justice between god and man.
• The one sitting is Shamash, the sun god and god of justice.
• Most of the stele was intended to ensure uniform treatment of people throughout his kingdom.
• Punishment was based on wealth, class, and gender of the parties
• This was the world’s most ancient full law code
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Lamassu
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•C. 883-859 BCE found in Nimrud (Iraq) now in the Met, NY
•These guardians figures flanked the major portals in Assurnasirpal II’s city
•They were also used in the support of the gateway entrance to the city.
•Art was an expression of military power
•Assyrians decorated their palaces with scenes of victorious battles, presentations of tribute to the king, combat between men and beasts, and religious imagery
•The Assyrian empire had a long and spread out reign
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Assurnasirpal II Killing of Lions
•C. 850 BCE, from palace of Assurnasirpal II in Nimrud (Iraq)
•This image probably depicts a ceremonial hunt, in which the king, protected by men with sword and shields rode back and forth killing animals as they were released into an enclosed area
•This piece marks a shift in Mesopotamian art away from a sense of timelessness and toward visual narrative
•Unlike earlier works, the man is not part of nature, standing among animals as their equal, but has assued dominion over nature
Assurnasirpal and His Queen in the Garden• C. 647 BCE from the palace at Nineveh
(Iraq) made of alabaster• This tranquil domestic scene is actually
a victory celebration• The theme is royal power it signifies
political strength and power• Much Assyrian art is relief carving
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Ishtar Gate
•C. 575 BCE from Babyon (Iraq) made of glazed brick
•This gate was the ceremonial entrance to Babylon
•This gate was a symbol of Babylonian power
•It was guarded by four crenellated towers and was decorated with tiers of mushhushshu, horned dragons, which were sacred to Maruk, the city’s patron god.
•In the panel fragments, lions walk beneath stylized palm trees
Royal Audience Hall (apadana) of Darius I and Xerxes I• C. 500 BCE located in Persepolis, Iran• This imperial complex was set on a raised platform and laid
out on a rectangular grid• It was accessible only from a single ramp made of wide
shallow steps • This apadana was set above the rest of the complex on a
second terrace• It had open porches on 3 sides and a square hall large
enough to hold several thousand people• On its walls are ranks of warriors that seem ready to defend
the palace, while on the staircase, lions attack bulls at each side of the Persian generals
• These animal combats emphasize the ferocity of the leaders and their men
• The building looks Mesopotamian with its powerful lions, rooms full of columns
• Themes: diversity of empire, military control/power• Other reliefs throughout the city depict displays of allegiance
or economic prosperity• Persians had a high level of technical and artistic
sophistication
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