Periods Etruscan kingdom (753 to 509) Republic (509 to 27) Empire to the split of west and east (27 to 399 AD) Empire to the collapse of the west and transition to Byzantine in the east (395 to 476).
Characteristics (Etruscan and Roman kingdom) Volutes, Arcades, spiral and line motifs (fur, hair, clothing folds, leaves, etc), abstracted objects (axes, pots, plants, rope, animals, etc). Sculpture could be psychologically complex and heavily individualistic. Painting, murals, etc were often abstracted, almost Egyptian in form, although not as static, had more instantaneous motion, more interaction between figures and figure elements. (Republic) Attained completely individualistic and naturalistic statues, almost all for propaganda purposes. Facade patterns: concrete courses, smaller mud brick courses, registers with balanced, interlocking and rhythmic natural and idealistic figures. Hellenistic influence on architecture, mature classic on statue and relief work. Strong use of natural, artificial, curved and geometric forms to complement subject matter as patterns, motifs, scene and register dividers. Contrast "urbanity" with nature, (eg villas, atriums). (Imperial, architecture) Colossal scale, elegant, daylight and airy. Facades become increasingly complicated, and one may be reminded of the Baroque era. (Mosaics) Many are illusionistic, still life works used for inspiration centuries later can be found. Some non-propaganda work can be found.
Roman arch In use by the Egyptians, Greeks and Near Eastern cultures, but the Romans are the first to make widespread use of it. A keystone holds wedge-shaped voussoirs in place. The downward thrust of gravity is distributed along the voussoirs down to the supporting jambs and to the ground.
Vitruvius (1st BC or AD) Wrote Ten Books of Architecture, the only surviving complete literature on this subject from classical antiquity.
Pliny the Elder (23 to 79 AD) Author Naturalis Historia
Pausanias (2nd AD) Greek traveler who wrote about his travels.
Ovid (43 to 17 AD) Poet. For example, wrote Art of Seduction which might've led to his banishment.
Plotinus (205 to 270) Philosopher.
Plutarch (49 to 119) Greek who wrote about art and artist.
Vergil (70 to 19) Poet, stated "Greeks practice the arts, Romans practice statecraft".
Roman orders Composite (of Corinthian), Tuscan (based on Doric), Etruscan and Roman orders included pedestals.
Oligarchy Rule of the few.
Sanctuary of Fortuna Primigenia, Palestrina, Italy (b.100 BC) Grander than any building in Rome at the time, a seven-story layered complex with a crowning tholos dedicated to the goddess of fate and chance. Colossal scale, concrete with veneer, exedrae (circular indentations in a wall), arcades, colonnades. Similar in tone to the Egyptian pharaoh Hatshepsut's temple at Deir el-Bahri.
Imperial Procession, Ara Pacis, south side relief (13 to 9 bc) Works of the upcoming Christian-dominated eras will resemble closely this example in terms of form, tone, and other attributes.
Tesserae cube-like glass or stone pieces used to create mosaics.
Emblemata Floor mosaic panels.
Spoils From the Temple of Solomon Jerusalem, Arch of Titus, passageway relief (81) Dedicated to Titus by Domitian out of guilt because he probably was responsible for Titus' death. Contrast to the balance and figure organization of the Ara Pacis. The position of the viewer is carefully considered (below the procession). Through analysis of elements, Menorah is center of focus (isolated and above). Similar to Ara Pacis in how figures are arranged in terms of depth and how depth is treated. ie, nearer figures are in high relief, distant figures in low.
Syncretic To combine artistic styles or conventions in a single image, sculpture, or other work.
Tetrarchs, Porphyry (c.300, 51") An example of late Roman shift from natural/realism to the abstraction that would characterizes the eras to come. The impression of unity in leadership takes on more importance than representing optical reality. Symbolic representation used.
chi rho (XP, ie christos) The greek emblem of Constantine, used on his soldiers shields, during the battle of the Milvian bridge.
Basilica of Maxentius and Constantine, Rome (306 to 13) Originally Basilica Nova, commissioned by Maxentius, the plan of which would be adopted by early Christian architects. The original axis led to the apse from the nave (like all basilicas), but Constantine later added an entrance perpendicular to this axis so he could lay claim to it.
Thursday, April 13, 2017
Sunday, April 9, 2017
Ancient Greece notes and characteristics, Early Classic to Hellenistic.
Three concepts that influenced Greek works Humanism (man is the measure of all things), rationalism (reason over emotion), idealism (things, plants, animals distilled to their basic essences, and rebuilt in the "truest" form of themselves). The influence on creation was the work was to be self-aware and create nothing in excess (principle of economy). There are no accidents, everything happens for a reason. This is the Greek version of faith, in this case faith in order and reason. The result artistically was a standard in technical and aesthetic achievement that was not rivaled for centuries by any other culture, and when such was accomplished, it was based on what the Greeks had achieved.
Early Classic period (480 to 450) Termed "severe" because figures still tended to be rigid, even though artists attempted to capture nature and/or what was optically seen. All classic periods endeavor to create ideal forms based on an underlying truth/essence/order, usually mathematic in nature.
Mature Classic period (450 to 400) Combine idealism with naturalism, pleasing rhythm with variety, works incorporate a canon of proportions (Polykleitos) offering a framework for pleasing proportions and forms evidenced in nature and by mathematic precision. For example, soft against hard forms, organic against geometric, energy with calm. Works tend to "respect" the space of the viewer, high technical achievements accomplished with a sort of "aloof" distance, static sense, and intellectual participation of the viewer.
Late Classic period (400 to 325) Requires an intellectual and emotional investment of the viewer. Favors more immediate drama than the "stand-offish" theatrical tone of the mature classic period. It could be that tastes changed or tired from the search for idealistic perfection and preference for youthful forms characterized by the previous period. Interlocking, dramatic, emotional and more mundane depictions with a sense of wisdom and experience were favored over the mature classic sense of heroic, Olympian supernatural and highly balanced compositions. Originality was more appreciated; more unexpected expressions (eg, mirth, anxiety) can be found. Some of the first known examples of female nudes.
Hellenistic period (325 to 31) Tone/form/content takes one of two general directions. Either a nostalgic return to the mature style, or in the opposite direction in many respects (termed "anti-classic", originated in Pergamon). Heroic, unearthly and serene depictions are traded in favor of mundane, specific, reality-based emotions, but the drama remains, perhaps more reckless. Works "invade" space of the viewer in how the figures would be arranged, their motion, and their placement in relation to the "canvas". There is a great reduction in the mature classic sense of balanced restraint.
West pediment of the Temple of Zeus (some remains) (c.470 to 456, Olympia) Very elegant use of an awkward canvas (flattened triangle of a pediment). Writhing bodies space at even intervals building up to a central figure (Apollo) project contrasting calm. Scene is a plastic moment of conflict between Lapiths and centaurs.
Doric order organization (top to bottom) pediment, entabliature (cornice, frieze, architrave), capital (abacus, echinus, necking), column, stylobate, stereobate.
Contrapposto Balancing tension and calm, rigid and relaxed. In sculpture, this meant the S-curve created when a figure is placing most of its weight on one foot, with the other bent and relaxed, while the orientation of tense/calm is reversed on the upper portion of the body.
Polykleitos Credited with devising the most well-known mature classic canon of proportions. Given a unit of measure, such as the width of a fist across the knuckles, the length of a forefinger or the height of the head from chin to hairline, the remaining components of the whole could be built in proportion to the unit of measure to create the most intellectually and visually pleasing figure possible. Balanced contrasts of natural, flawed and specific against idealized and general.
Stoa A Greek walkway that offered protection from the weather. Usually one of the long sides was lined with a colonnade while the opposite was lined with a wall.
Tholos Circular structure which had masonry upheld by a peristyle.
Factions of Alexander's empire upon his death (323) Ptolemaic, Seleucid, Antigonid.
Theater of Epidauros Excellent example of a Greek theater: Wedge-shaped aisles, orchestra (performance area), scene (backdrop), acoustic sensitivity, etc. This design has not been improved upon even now.
Early Classic period (480 to 450) Termed "severe" because figures still tended to be rigid, even though artists attempted to capture nature and/or what was optically seen. All classic periods endeavor to create ideal forms based on an underlying truth/essence/order, usually mathematic in nature.
Mature Classic period (450 to 400) Combine idealism with naturalism, pleasing rhythm with variety, works incorporate a canon of proportions (Polykleitos) offering a framework for pleasing proportions and forms evidenced in nature and by mathematic precision. For example, soft against hard forms, organic against geometric, energy with calm. Works tend to "respect" the space of the viewer, high technical achievements accomplished with a sort of "aloof" distance, static sense, and intellectual participation of the viewer.
Late Classic period (400 to 325) Requires an intellectual and emotional investment of the viewer. Favors more immediate drama than the "stand-offish" theatrical tone of the mature classic period. It could be that tastes changed or tired from the search for idealistic perfection and preference for youthful forms characterized by the previous period. Interlocking, dramatic, emotional and more mundane depictions with a sense of wisdom and experience were favored over the mature classic sense of heroic, Olympian supernatural and highly balanced compositions. Originality was more appreciated; more unexpected expressions (eg, mirth, anxiety) can be found. Some of the first known examples of female nudes.
Hellenistic period (325 to 31) Tone/form/content takes one of two general directions. Either a nostalgic return to the mature style, or in the opposite direction in many respects (termed "anti-classic", originated in Pergamon). Heroic, unearthly and serene depictions are traded in favor of mundane, specific, reality-based emotions, but the drama remains, perhaps more reckless. Works "invade" space of the viewer in how the figures would be arranged, their motion, and their placement in relation to the "canvas". There is a great reduction in the mature classic sense of balanced restraint.
West pediment of the Temple of Zeus (some remains) (c.470 to 456, Olympia) Very elegant use of an awkward canvas (flattened triangle of a pediment). Writhing bodies space at even intervals building up to a central figure (Apollo) project contrasting calm. Scene is a plastic moment of conflict between Lapiths and centaurs.
Doric order organization (top to bottom) pediment, entabliature (cornice, frieze, architrave), capital (abacus, echinus, necking), column, stylobate, stereobate.
Contrapposto Balancing tension and calm, rigid and relaxed. In sculpture, this meant the S-curve created when a figure is placing most of its weight on one foot, with the other bent and relaxed, while the orientation of tense/calm is reversed on the upper portion of the body.
Polykleitos Credited with devising the most well-known mature classic canon of proportions. Given a unit of measure, such as the width of a fist across the knuckles, the length of a forefinger or the height of the head from chin to hairline, the remaining components of the whole could be built in proportion to the unit of measure to create the most intellectually and visually pleasing figure possible. Balanced contrasts of natural, flawed and specific against idealized and general.
Stoa A Greek walkway that offered protection from the weather. Usually one of the long sides was lined with a colonnade while the opposite was lined with a wall.
Tholos Circular structure which had masonry upheld by a peristyle.
Factions of Alexander's empire upon his death (323) Ptolemaic, Seleucid, Antigonid.
Theater of Epidauros Excellent example of a Greek theater: Wedge-shaped aisles, orchestra (performance area), scene (backdrop), acoustic sensitivity, etc. This design has not been improved upon even now.
Wednesday, April 5, 2017
Ancient Greece notes, Geometric to Archaic, characteristics and symbology
Periods Proto-geometric (1050 to 900) Geometric (900 to 700) Orientalizing (700 to 625) Archaic (625 to 480) Early Classic/Severe (480 to 450) Mature Classic (450 to 400) Late Classic (400 to 325) Hellenistic (325 to 31) Roman (27 to 395 AD).
Tenemos A sanctuary built and rebuilt to near palatial status.
Sanctuary of Apollo (600 to 200, Delphi) Where Apollo would communicate with Pythia. Original site built in 6th. Thought to be the Earth's navel, where Earth and heaven touch, through something like an umbilical cord.
Geometric Period Funerary Krater (750 to 700, Athens) Highly decorative, slender/abstracted figures of attendants, soldiers, horses, chariots. Perpendicular flow established through register decorations and figures. Gaps between primary and secondary subject matter filled in with designs and motifs.
Porch Covering for the portico of a temple, or the general area of a temple entrance.
Gable Triangular roof element to a facade. Pediment on larger structures.
Peristyle To encase with columns, usually in a rectangular pattern.
Gorgon Medusa (Central pediment high relief, Temple of Artemis, Korkyra, c.580) Figure is open compositionally, left to right movement, impossible position of limbs, supports menacing expression, bulging eyes. Central figure in the pediment.
Treasury of the Siphnians (now lost, Sanctuary of Apollo, Delphi, C.530 to 525) In antis style, perfect blend of form/function, architect/sculptor, structure with caryatid portico columns.
Dying Warrior (Temple of Aphaia, Aegina, 480) Figure's body twisting and contorting in space, evidence of sensitivity to time in the work. Flesh is rendered realistically. Organic, soft forms and textures of the body contrast professionally with the harsh, geometric forms of the shield and helmet.
Battle Between Gods and Giants (frieze, Treasury of the Siphnians, c.530 to 525) Excellent relief depiction, somewhat chaotic yet sensitively spaced figures an advancement in western artistic creation towards a more true-to-reality depiction of a scene in terms of tone, yet figures are rendered idealistically in terms of form. Read left to right; integration of time to work a success, another advancement.
Amasis Painter, Dionysus with Maenads (540, amphora vase) Archaic style, a single scene beautifully rendered on either side.
Characteristics "Man is the measure of all things", periods reflect stylistic changes, not political or religious developments as would be the case in other regions of the era. Individualism is emphasized more than any other of the time. Proto-geometric style characterized by spirals, cross hatching, diamonds, linear designs favored over figures, people, plants, animals. The Geometric period used rectilinear shapes often. The Orientalizing period was heavily influenced by Egyptian and Near Eastern styles. Special attention must be paid to proportions and ratios. If one is change, it's relation must be adjusted in proportion. There is an increasing need integrate time on a human scale, and to represent works more realistically, especially in three dimensional works. Registers of overlapping, space-sensitive figures telling a story with bands of geometric forms for scene division and compositional organization. In funerary works, Egyptian works would focus on the dead and their activities. In Greek works, such depictions focused on the despair and reactions of those that remained. Geometric style characterized by humans being integrated more into works. Both periods are dense compositionally, decorative. Orientalizing style characterized by more open compositions, beasts (real and imaginary), people, plants, integration of curvilinear forms and designs, rosettes, still heavily abstract. Perspectives sometimes combine (eg, two closed-comp beast body profiles combine to make a single straight-on head). Archaic style introduces some of the first known examples of artist and/or architects authoring their work. With the Greek awareness of the self, it's no surprise they were the first to do this. Registers progressively grow in size until a single scene covers either side. Foreshortening can be found during this period. Depictions of the common people can be easily found (eg, workshops, foundries, black smith labs, etc).
Symbology Scepter, lightening bolt, eagle, oak tree (Zeus, maturity, supremecy, power, strength) flame, peacock, diadem, scepter, pomegranate (Hera/Juno, marriage, birth, female protection, vengeance, jealousy) circle, flame (Hestia/Vesta, town hall, democracy, balance) trident, horse, dolphin (Poseidon, sea, capriciousness, misogyny) three-headed dog/Cerebus, helmet (Hades, thirst for power, death, wealth) spear, boar, vulture, dog (Ares, war conflict, violence, brutality, danger, megalomania, cowardice) blacksmith hammer, apron, forge fire (Hephaistons/Vulcan, metal arts, masonry, ingenuity, disability) laurel, dolphin, sun, lyre, bow & arrow (Apollo, light, truth, healing, music, archery) the Moon, oxcart, hunting dogs, deer, cypress (Artemis/Diana, hunt, female independence, confident solitude) shield & spear, owl, olive tree (Athena/Minerva, wisdom, strategy, vicotry) girdle, seashell, mirror, myrtle, dove, sparrow, swan (Aphrodite/Venus, love, sensuality, eroticism, creativity) winged sandals, cap (of Hermes), caduceus (wand with two snakes wrapped around) (Hermes, luck commerce, thieves, fertility, manages the path to the underworld) Mountain (Olympus, for my use).
Tenemos A sanctuary built and rebuilt to near palatial status.
Sanctuary of Apollo (600 to 200, Delphi) Where Apollo would communicate with Pythia. Original site built in 6th. Thought to be the Earth's navel, where Earth and heaven touch, through something like an umbilical cord.
Geometric Period Funerary Krater (750 to 700, Athens) Highly decorative, slender/abstracted figures of attendants, soldiers, horses, chariots. Perpendicular flow established through register decorations and figures. Gaps between primary and secondary subject matter filled in with designs and motifs.
Porch Covering for the portico of a temple, or the general area of a temple entrance.
Gable Triangular roof element to a facade. Pediment on larger structures.
Peristyle To encase with columns, usually in a rectangular pattern.
Gorgon Medusa (Central pediment high relief, Temple of Artemis, Korkyra, c.580) Figure is open compositionally, left to right movement, impossible position of limbs, supports menacing expression, bulging eyes. Central figure in the pediment.
Treasury of the Siphnians (now lost, Sanctuary of Apollo, Delphi, C.530 to 525) In antis style, perfect blend of form/function, architect/sculptor, structure with caryatid portico columns.
Dying Warrior (Temple of Aphaia, Aegina, 480) Figure's body twisting and contorting in space, evidence of sensitivity to time in the work. Flesh is rendered realistically. Organic, soft forms and textures of the body contrast professionally with the harsh, geometric forms of the shield and helmet.
Battle Between Gods and Giants (frieze, Treasury of the Siphnians, c.530 to 525) Excellent relief depiction, somewhat chaotic yet sensitively spaced figures an advancement in western artistic creation towards a more true-to-reality depiction of a scene in terms of tone, yet figures are rendered idealistically in terms of form. Read left to right; integration of time to work a success, another advancement.
Amasis Painter, Dionysus with Maenads (540, amphora vase) Archaic style, a single scene beautifully rendered on either side.
Characteristics "Man is the measure of all things", periods reflect stylistic changes, not political or religious developments as would be the case in other regions of the era. Individualism is emphasized more than any other of the time. Proto-geometric style characterized by spirals, cross hatching, diamonds, linear designs favored over figures, people, plants, animals. The Geometric period used rectilinear shapes often. The Orientalizing period was heavily influenced by Egyptian and Near Eastern styles. Special attention must be paid to proportions and ratios. If one is change, it's relation must be adjusted in proportion. There is an increasing need integrate time on a human scale, and to represent works more realistically, especially in three dimensional works. Registers of overlapping, space-sensitive figures telling a story with bands of geometric forms for scene division and compositional organization. In funerary works, Egyptian works would focus on the dead and their activities. In Greek works, such depictions focused on the despair and reactions of those that remained. Geometric style characterized by humans being integrated more into works. Both periods are dense compositionally, decorative. Orientalizing style characterized by more open compositions, beasts (real and imaginary), people, plants, integration of curvilinear forms and designs, rosettes, still heavily abstract. Perspectives sometimes combine (eg, two closed-comp beast body profiles combine to make a single straight-on head). Archaic style introduces some of the first known examples of artist and/or architects authoring their work. With the Greek awareness of the self, it's no surprise they were the first to do this. Registers progressively grow in size until a single scene covers either side. Foreshortening can be found during this period. Depictions of the common people can be easily found (eg, workshops, foundries, black smith labs, etc).
Symbology Scepter, lightening bolt, eagle, oak tree (Zeus, maturity, supremecy, power, strength) flame, peacock, diadem, scepter, pomegranate (Hera/Juno, marriage, birth, female protection, vengeance, jealousy) circle, flame (Hestia/Vesta, town hall, democracy, balance) trident, horse, dolphin (Poseidon, sea, capriciousness, misogyny) three-headed dog/Cerebus, helmet (Hades, thirst for power, death, wealth) spear, boar, vulture, dog (Ares, war conflict, violence, brutality, danger, megalomania, cowardice) blacksmith hammer, apron, forge fire (Hephaistons/Vulcan, metal arts, masonry, ingenuity, disability) laurel, dolphin, sun, lyre, bow & arrow (Apollo, light, truth, healing, music, archery) the Moon, oxcart, hunting dogs, deer, cypress (Artemis/Diana, hunt, female independence, confident solitude) shield & spear, owl, olive tree (Athena/Minerva, wisdom, strategy, vicotry) girdle, seashell, mirror, myrtle, dove, sparrow, swan (Aphrodite/Venus, love, sensuality, eroticism, creativity) winged sandals, cap (of Hermes), caduceus (wand with two snakes wrapped around) (Hermes, luck commerce, thieves, fertility, manages the path to the underworld) Mountain (Olympus, for my use).
Sunday, April 2, 2017
Ancient Egypt notes, characteristics and symbology
Sphinx of Giza (2613 to 2494) Human qualities (head, intelligence) combined with body of a lion (power, vigilance) to protect Khafra's grave/pyramid.
Mask of Tutenkhamen (C. 1336 to 1327, Dy. 18, 21")
Approximate period divisions 5500 to 3100 (predynastic/neolithic), 3100 to 2686 (early dynastic) 2686 to 2181 (old kingdom) 2055 to 1650 (middle kingdom) 1550 to 1069 (new kingdom) 747 to 332 (late kingdom) 332 to 32 (Ptolemaic), 30 to 390 AD (Roman).
3500 to 3400 BC jar (8") Highly abstract, symbols/motifs for water (Nile), human and plant figures, characteristic of predyanstic "sub era".
Egyptian cannon of proportions The first known establishment of figure formatting, in this case the required width and height of the full human figure, as well as "landmarks" for where specific details (eg knees, mouth) should be according to a specific unit of measure. Predecessor of the modern graphic design grid.
Funerary complex of Djoser (2667 to 2648) first example of columns used to span massive space (hyppostyle).
Head of Senusret III (1836 to 1818, dy. 12) A technically proficient example of Egyptian break from austere convention in the depiction of royalty. Expression is solemn, contemplative, deep instead of placid or calm. Ears break picture plane proportions by being rendered in profile from a straight-on view. Facial features are more readily identifiable to the figure than what is common in Egyptian art.
Cartouche A loop of rope; the upper portion of the ankh.
Hiero(sacred)glyph(carve) A combination of pictographs and phonograms, thought to have religious power, and the earliest of the three Egyptian written communication systems.
Rosetta stone (196) Stele responsible for our current ability to read all three ancient Egyptian language.
Hyppostyle A method of spanning great space with colonades
Clerestory The upper level of a hall with windows or gaps allowing light or air to circulate in the lower chambers.
Peristyle A space or building lined with columns.
Amenhotep IV (Akhenaten, 1352 to 1336) Chief queen was Nefertiti. One of the first known examples of the implementation of monotheism by the state.
Bust of Nefertiti The rendering of facial features and skin are masterful and comparable to any more modern work. Certain features would be impossible to achieve in reality and are idealized.
Egyptian cannon of proportions The first known establishment of figure formatting, in this case the required width and height of the full human figure, as well as "landmarks" for where specific details (eg knees, mouth) should be according to a specific unit of measure. Predecessor of the modern graphic design grid.
Funerary complex of Djoser (2667 to 2648) first example of columns used to span massive space (hyppostyle).
Head of Senusret III (1836 to 1818, dy. 12) A technically proficient example of Egyptian break from austere convention in the depiction of royalty. Expression is solemn, contemplative, deep instead of placid or calm. Ears break picture plane proportions by being rendered in profile from a straight-on view. Facial features are more readily identifiable to the figure than what is common in Egyptian art.
Cartouche A loop of rope; the upper portion of the ankh.
Hiero(sacred)glyph(carve) A combination of pictographs and phonograms, thought to have religious power, and the earliest of the three Egyptian written communication systems.
Rosetta stone (196) Stele responsible for our current ability to read all three ancient Egyptian language.
Hyppostyle A method of spanning great space with colonades
Clerestory The upper level of a hall with windows or gaps allowing light or air to circulate in the lower chambers.
Peristyle A space or building lined with columns.
Amenhotep IV (Akhenaten, 1352 to 1336) Chief queen was Nefertiti. One of the first known examples of the implementation of monotheism by the state.
Bust of Nefertiti The rendering of facial features and skin are masterful and comparable to any more modern work. Certain features would be impossible to achieve in reality and are idealized.
Characteristics Almost all Egyptian art was propaganda and political in nature. Pictographs depict those characteristics that make the part easiest to identify, ie heads and legs in profile, eyes, chests and waists straight-on. Space spanning uses columnar orders, lotus, papyrus, palm trees. Figures are shown from straight on or profile, rigid, "canonized", placed in registers. Tone is timeless. Common symbols include the Sun (Ra), water (Nile), pure colors unmixed, almost no attempt to create depth through variations in tone or purity. Religion/government one body; favored order, balance, static harmony. Important people were depicted with increasing rigidity and timelessness, formality, idealistically and a hint of control. Less important people are still somewhat stiff but less formally, doing mundane non-eternal activities, rendered with more naturalism.
Symbology Ostrich feather (Egyptian god Anubis, truth) jackal/jackal-head (Anubis) hippopotamus (Seth, evil) lion (royalty, vigilance, regal authority) sun/disc (Ra, life, fertility) ibis/ibis-head (Thoth, responsible for hieroglyphs, record keeping, administration) cobra (the rising sun, king) scarab, beetle (Ra, everlasting life, sun) falcon/falcon-head (Horus, slayer of Seth, became king of Earth) wedjat (complicate eye figure, eye of Horus) ankh (everlasting life) potters wheel (possible creation of humanity through Ptah) cow head (Hathor, protection) bull, or parts of the bull (strength, virility) sedge and/or lotus (upper Egypt) the false beard of the pharaohs (royalty) wavy lines (water, Nile from overhead) crook and flail (grain thresher, a combination of symbols specific to ancient Egyptian royalty).
Symbology Ostrich feather (Egyptian god Anubis, truth) jackal/jackal-head (Anubis) hippopotamus (Seth, evil) lion (royalty, vigilance, regal authority) sun/disc (Ra, life, fertility) ibis/ibis-head (Thoth, responsible for hieroglyphs, record keeping, administration) cobra (the rising sun, king) scarab, beetle (Ra, everlasting life, sun) falcon/falcon-head (Horus, slayer of Seth, became king of Earth) wedjat (complicate eye figure, eye of Horus) ankh (everlasting life) potters wheel (possible creation of humanity through Ptah) cow head (Hathor, protection) bull, or parts of the bull (strength, virility) sedge and/or lotus (upper Egypt) the false beard of the pharaohs (royalty) wavy lines (water, Nile from overhead) crook and flail (grain thresher, a combination of symbols specific to ancient Egyptian royalty).
Saturday, April 1, 2017
Ancient Near East notes and characteristics
Lamassu (883 to 859 BC, Assyrian, singular lamassus) Rigidly structured half man half beast built on a scale larger than that of man, meant to be an imposing pressence, standing guard. Built to be viewed from head on or profile. Head on view communicates vigilance, profile striding motion due to treatment of five legs (from the side only four of the five would be seen). Strictly political in purpose.
Establishment of written language C. 3100 BC depending on region.
Hammurabi 1792 to 1750 BC, Babylonian ruler.
Hittites 1600 to 1200 BC, Ionia.
Neo-Babylonia 612 to 539 BC.
Persia 559 to 331 BC.
Sumeria Responsible for/first to develop written language (cunieform), behavior standard/law code, create a story (Epic of Gilgamesh), arithmatic (to aid in commerce).
Ziggurats Temples specific to Sumer, thought to bridge the gap between heaven and Earth, they tended to be built one on top of the previous, which gives them their distinct shape.
Phonogram Language break through, a sound representation of an iconograph/pictograph.
Nanna Ziggurat (2100 to 2050 BC, Ur (Iraq)) Still intact, dedicated to the moon god Nanna. This one was not raised on top of previous versions. Ur was the birthplace of Abraham.
Register Horizontal tiers of figures painted or incised, usually arranged one register on top of another.
Stele A large stone or clay slab used to paint or incise text/pictographs/images/etc. Smaller than menhirs.
Nebuchadnezzar 602 to 562 BC.
Persian ceremonial complex (518 to 460 BC, Persepolis) Reliefs of rigid soldiers, animal profiles, elements with near-forced balance, unnatural poses, hierarchic, views are either straight on or profile, militant in presentation, tone is one of action, conflict.
Characteristics Simple motifs, patterns (eg beard spirals), cuneiform pictographs, hierarchic scale, rigid, glory to the king/ruler, megaliths, steles, murals of foliage, warriors, gods, palaces, temples, ziggurats. Predatory animals at funerary complexes would protect the dead. Women giving birth to animals (leopards, bulls, rams, etc, unknown purpose). Division between classes (royalty, priesthood, peasants), fertility common subject matter.
Symbology Horned headdress (worn by the gods) power sometimes symbolized by flames, rope circle, measuring rod (the ruler measures/weighs justice, judgement), lion, weaponry. Decapitated head (victory) lions and bulls (ferocity of soldiers) increasing detail, jewels, rings (wealth, power).
Characteristics Simple motifs, patterns (eg beard spirals), cuneiform pictographs, hierarchic scale, rigid, glory to the king/ruler, megaliths, steles, murals of foliage, warriors, gods, palaces, temples, ziggurats. Predatory animals at funerary complexes would protect the dead. Women giving birth to animals (leopards, bulls, rams, etc, unknown purpose). Division between classes (royalty, priesthood, peasants), fertility common subject matter.
Symbology Horned headdress (worn by the gods) power sometimes symbolized by flames, rope circle, measuring rod (the ruler measures/weighs justice, judgement), lion, weaponry. Decapitated head (victory) lions and bulls (ferocity of soldiers) increasing detail, jewels, rings (wealth, power).
Prehistory notes and characteristics
Bronze Alloy of 50tin and 29copper.
Brass Alloy of 30zinc and 29copper.
Last ice age 18 to 15k BC.
Upper paleo(old)lithic(stone) 40k to 7k BC.
Meso(middle)lithic 8k to 7k BC, the transition period of the paleolithic to neolithic periods. Flint tools found here.
Neolithic 7k to 2300 BC. Settlements, villages, husbandry, agriculture, metalworking, herds developed, characterize this period. More focused dates for advancements vary by geographical region.
Woman of Willendorf, Austria (22 to 21k BC, ~4.5", limestone) A depiction of health, fertility.
Husbandry The cultivation, organized improvement of grasses and other wild plants to improve their consumptive yields. Over generations, rice, corn, wheat, millet and gourds were created.
Megalith (~4k BC) In western Europe the earliest ones aided in the construction of burial chambers.
Stonehenge Early megalithic structure, updated at least four times from 2750 to 1500 BC. Salisbury Field, southern Britain.
Menhir Single megaliths usually associated with a prehistoric settlement/site.
Characteristics Figures (3 and 2D) abstracted to essential elements to be communicated: women, animals for the most part. Simplest of spatial arrangements: Divergent, intuitive, atmospheric, shallow space established through gestalt (close edge, touch, overlap and combine). Patterns, motifs, post/lintel architecture.
Characteristics Figures (3 and 2D) abstracted to essential elements to be communicated: women, animals for the most part. Simplest of spatial arrangements: Divergent, intuitive, atmospheric, shallow space established through gestalt (close edge, touch, overlap and combine). Patterns, motifs, post/lintel architecture.
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