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"Venus of Willendorf" Willendorf, Austria Paleolithic Limestone
Thought to be a love goddess, now known as a votive of an ideal woman |
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"Hall of the Bulls" Lascaux, France Paleolithic-Neolithic
Some of the paintings (the bulls) are newer; people continued to return to the cave and add paintings |
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"Rhinocerus, Wounded Man, and Bison" Lascaux, France Paleolithic-Neolithic
one of our first examples of narrative in art |
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"Plastered Skull" Jericho, Jordan Neolithic Tinted Plaster and Bone
Dead were kept very close; bodies were kept under house but the skull was removed, plastered in a flesh color and put on display in the house |
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"Stonehenge" Salisbury Plain, England Neolithic
rebuilt at least 4 times from 2750-1500 BC, moved from a series of ditches to more complex stone architectures Sacred Ground- the ancients believed the land was sacred and built monuments out of respect |
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"White Temple, Ziggurat" Uruk Sumerian
Ziggurat: raised mudbrick platform for sacred buildings; most prominent structure in the city |
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"Carved Vase from Uruk" (Warka Vase) Uruk Sumerian Alabaster
Most likely used to hold offerings Depicts people within the community organizing labor and pooling resources Hieratic Scaling Lowest Register: crops and livestock Middle Register: commoners carry offerings Highest Register: grand gesture; most important person makes celestial transaction with god |
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"Head of Inanna" Uruk Sumerian Limestone |
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"Votive Figures" Abu Temple, Eshnunna Sumerian limestone, alabaster, gypsum, shell, bitumen
Proxies for individuals placed at temples to serve as contact with gods Eyes are important, affirms celestial transaction Activation Ritual: spells written out on exactly how to make an effective votive |
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"Stele of Eannatum" or "Stele of the Vultures" Girsu Sumerian limestone
First visual historical narrative in history; verified by story in text as well Ningirsu and Ninhursag support Eannatum and provide celestial and chthonic support for Lagash |
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"Standard of Ur" Royal Cemetery, Ur Sumerian Wooden box decorated with gold, shell, limestone, shell, lapis lazuli Enemies pay homage to king, foot soldiers head to battle, battle scene shows trampling of enemies; at bottom, spoils are collected Circular story: shows that war leads to spoils and is necessary to keep lavish lifestyle, no real start or end to story |
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"Bull Lyre" Royal Cemetery, Ur Sumerian Wood, gold, lapis lazuli, shell, bitumen, ivory
Gold and possession of instruments show wealth Depicts the endless banquet to be enjoyed in the afterlife |
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"Stele of Naram-sin" Sippar, then Susa Akkadian Sandstone
Hieratic Scaling Blurring of boundaries between gods and kings in iconography Depicts King Naram-Sin with gods' horns of power Mountains and trees are first sign of landscaping in art Naram-sin climbs the mountain to meet with 3 primary deities and return with authority of gods |
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"Head of an Akkadian Ruler" Akkadian Bronze
Possibly Naram-Sin Destroyed when Akkadians were conquered Symbolically damaged then displayed to show conquering of power |
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"Great Ziggurat of Ur" Ur Neo-Sumerian
Bigger ziggurats showed prominence and power to other city-states |
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"Stele of Hammurabi" Babylon then Susa Babylonian Diorite
Shamash addresses Hammurabi and passes down his laws Hammurabi wears crown, puts hand over mouth to show humility Shamash wears horn of power, sits on a mountain with his feet on an altar Guarantor: in celestial transaction, the god becomes enforcer Hammurabi's code is listed as transactions: "If...then" |
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"Citadel of Sargon II" Dur Sharrukin Assyrian
First seriously walled city Ziggurat holds temple and palace, combining government and religion Stacked temples account for all the gods adopted from conquered peoples |
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"Lamassu" Citadel of Sargon II, Dur Sharrukin limestone Assyrian
Composite creature Placed at a gateway to guard entrance to the Citadel |
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"Ishtar Gate" Babylon Neo-Babylonian glazed brick
Nebuchadnezzar rebuilds Babylon to former glory Babylonian Dragon- composite creature with body of lion and head of a snake |
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"Palette of Narmer" Hierkonpolis Pre-Dynastic Egypt Slate
Narmer wears crowns of both Lower and Upper Egypt, showing he united Egypt by conquering Upper Egypt Horus, as a falcon, shows celestial support Used for crushing pigment for makeup of King Hathors stand guard on either side of Narmer's name |
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"Pyramid of Djoser" by Imhotep Saqqara, Egypt Old Kingdom
Imhotep had the idea to stack mastabas to show prominence of inhabitant |
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"The Great Pyramids at Gizeh" Gizeh, Egypt Old Kingdom
Culmination of stacking mastabas; they become so big that the shape looks smoother from further away Highest culmination of tomb building in Egypt oldest of 7 ancient wonders Grand tombs preserve hierarchy and cosmology in afterlife |
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"The Great Sphinx" Funerary Complex of Khafre Gizeh, Egypt Sandstone Old Kingdom
composite guarding and marker of boundaries between plains |
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"Khafre" Diorite Old Kingdom
Representations could serve as vessels to preserve the ka if the body was ruined Built to last and preserve ka, so used best stone in tight formation Horus sits on shoulder |
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"Temple of Hatshepsut" Senmut: Architect Deir el-Bahri, Egypt New Kingdom
Carved from mountains to represent Punt, the level world of the gods Dedicated to Amen-Ra, but served as Hatshepsut's tomb on her death |
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"Akhenaten" Temple of Amen-Ra Karnak, Egypt Sandstone New Kingdom
Akhenaten had a vision and abandoned pantheon for monotheism of Aton Changed ways of artistically depicting people; sculptures became more detailed and realistic |
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"Queen Nefertiti" Painted Limestone New Kingdom
Reverts to older Egyptian style; Akhenaten's style dies with him |
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"Cycladic Lyre Player" Marble Cycladic Late Neolithic
very basic; schematized can be from inches to 3-feet tall contrasts with their very savage architecture |
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"Frying Pan" Terra Cotta Cycladic Neolithic
Boat with sea and female form at bottom; story of kidnapped princess taken overseas, maybe Helen |
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"Palace at Knossos" Knossos, Crete Minoan
ritualistic aspect to labyrinth palaces? |
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"Queen's Megaron" Palace at Knossos, Crete Fresco Minoan
conspicuous consumption- Minoan work is simply aesthetic, serves no other purpose |
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"Bull Leapers" Palace at Knossos, Crete Minoan fresco |
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"Snake Goddess" Knossos, Crete Faience Minoan
Clash of cthonic and celestial Could be Aprhodite, or Hera who borrowed Aphrodite's girdle to lure Zeus to Crete |
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"Harvester's Vase" Hagia Triada, Crete Steatite Minoan
depicts harvesters joyfully singing references to happy occasions are rare in ancient art |
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"Lion Gate" Citadel at Mycenae, Greece Mycenaeean
large Cyclopian stones Lions, signs of Mycenae, astride a column, sign of Minoans |
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"Citadel at Mycenae" Mycanae, Greece Mycenaean
megaran at center of palace grave circle outside of town (necropolis) discovered by Schliemann |
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"Citadel at Tiryns" Tiryns, Greece Mycenaean |
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"Treasury of Atreus" Mycenae, Greece Mycenaean
entry to a tholos tomb excavated hill reinforced by stone to be used as tomb stored bodies, wealth, weapons, and chariots |
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"Death Mask of Agamemnon" Mycenae, Greece Mycenaean Gold
statement toward the power of the brave discovered by Schliemann |
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"Warrior Vase" Mycenae, Greece Mycenaean ceramic
Shows soldiers marching off to war Idealized battle; Mycenaeans didn't actually have uniforms or marching formations Depicts a nation constantly prepared for war more serious and efficacious than Minoan art |
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