The Rise Of Civilization: The Art Of The Ancient Near East

Rembrandt van Rijn. Dutch.
Self Portrait. 1660.
Baroque.
(1660) –
Eos and Memnon by doris – Red figure technique

inside a wine cup

shows raw emotion

Priene,
Hellenistic
4th century
Walled for defense –
Ephemeral Sculpture – A sculpture designed to make a statement and then cease to exist.
In the Byzantine/Early Christian Era, they wanted images of worship. – Iconophiles
JOHNS, TARGET WITH PLASTER CASTS –
S. Apollinare in Classe, Ravenna –
Marble Court at the Palace of Versailles
Le Vau
Versailles
French Baroque –
Temple of Amen-Re
c. 1290 BCE; New Kingdom
Culture: Egypt
Hypostyle halls, massive lintels bind the columns together, axial plan. –
Plants tea house tea ceremonies low sitting 4-5 everything zen Buddhist – Wet Garden…
•_______ symbolically placed in an organized manner symbolizing the natural world
•Contains a _______ where Japanese Tea ceremonies are held
•_________ are important Japanese rituals and involve:
—Entering through ____ doorway (symbolizes humanity)
—______ on floor of bamboo and wooden walls with floor mats of woven straw
—Drinking tea in a small group of ____ people
—Rules dictate _______: ritual purification by hand-washing, types of conversation allowed etc.
>>Note: Design of space, rituals reflect AND promote important __________ principles:purity, harmony, respect, and tranquility
Michelangelo, Pietà, 1498. Italy/High Renaissance. –
Masaccio THE HOLY TRINITY
c. 1428
Early Renaissance
momento mori (reminder of death) –
nave of the church of St. Cyriakus –
Capital – The city that is the seat of government of a state, nation, or province
Luca Della Robbia (Italian), Madonna and Child, terracotta with polychrome glaze, Italy, ca. 1455-1460,
Renaissance, figure 16-39. –
100 ce

Made out of Concrete and white marble – What year is it from

What is it made from

Blending stump – …, tightly rolled paper stick used to blend drawing media
Luba, Bowstand, DRC, 19th-20th c. – Such artifacts make a reference to the Luba culture hero Mbidi Kiluwe, a foreign prince who ushered in an era of enlightened leadership and founded a dynasty of sacred Luba kingship. Luba ceremonial bow stands were never displayed in public, but were kept within the king's residence and guarded by a female dignitary. Female imagery is prominently integrated into insignia of Luba leadership. In Luba culture, women's bodies are conceived as receptacles for the spiritual power that protects and upholds the tenets of divine kingship. In this example, a female figure is represented as the shaft. Her extensively embellished skin and elaborate coiffure are those of a cultivated and highly respected member of society and embody an ideal of Luba civilization. Royal bow stands refer to the culture hero Mbidi Kiluwe's identity as a hunter. They evoke the skill and rarified knowledge associated with that often dangerous activity. Five miniature antelope horns carved into the end of the central extension link the ruler not only to the power of nature but also to the arts of healing that draw upon such materials. The conical iron studs that appear on all three arms of the bow stand are tiny replicas of anvils used to pound and shape iron. They are at once a reference to Mbidi's introduction of ironworking technology to Luba society and the challenging rites of investiture a Luba leader undergoes. Like metal, a new king must be shaped and strengthened for the difficult tasks he will perform as ruler.
Donald Judd, Untitled (Stack), 1967 –

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