Exam 4 Study Guide
Exam 4 Study Guide ARH 252
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This 5 page Study Guide was uploaded by Caroline Crews on Sunday April 10, 2016. The Study Guide belongs to ARH 252 at University of Alabama - Tuscaloosa taught by Anna Dietz in Winter 2016. Since its upload, it has received 17 views. For similar materials see Art History in Art at University of Alabama - Tuscaloosa.
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Date Created: 04/10/16
Study Guide for Test #4 Chapter 7 Images: 7-73, Portraits of the four tetrarchs, ca. 305 CE, Late Empire o All look the same o Different rulers acting as one 7-75, Arch of Constantine, Rome, 312-315, Late Empire o Inscription in attic to celebrate victory Liberated the people of Rome o Typical decoration surrounding openings o Took sculptural reliefs of older High Empire emperors to add to his Arch Wanted to connect himself with that era and wanted the people to forget about the political instability 7-77, Colossal head of Constantine, from the Basilica Nova, Rome, ca. 315-330 Late Empire o 8 ½ feet tall o Beardless, going back to the Augustus tradition o Blank stare, no personality o Stereotypical image of power 7-78, Basilica Nova, Rome, ca. 306-312 Late Empire o Covered outside concrete with brick; inside with tiles, frescos, mosaics, etc. o 300 ft. long, 200 ft. wide, 120 ft. High Massive o Apse Semi-circular section o Nave o Aisle flank either side 7-81, Roman coins with portraits of Constantine, Late Empire Period Style: Late Empire Context, terms and Concepts: Diocletian and the Tetrarchy; fictive nature of Roman portraiture; Art and architecture as propaganda; Roman concrete construction; Constantine takes Rome (312); Triumphal Arch; Founding Constantinople (“New Rome”); Constantine was baptized on his deathbed and thus considered the first Christian Roman emperor (337) Chapter 8 Images: 8-6, The Good Shepard, the story of Jonah, and orants, frescoed ceiling in Catacomb of Saints Peter and Marcellinus, Rome, early 4 century, Early Christian o Stylistically of the Roman World Mix of Roman stylistics and Christian subject matter o Old testament story paired wit ha new testament Serves to confirm the new o Christ as the Good Shepard in the center 8-7, Sarcophagus with philosopher, orant, and Old and New Testament scenes, from Rome, ca. 270, Early Christian o Old testament scene of Jonah and the wale o New testament; Christ as the Good Shepard o Orant Praying or mourning figures 8-1, Sarcophagus of Junius Bassus, from Rome, 359, Early Christian o Jesus: On top: Teaching the saints while sitting of throne On bottom: riding a donkey into Jerusalem o New testament figures paired with old testament scene Adam and Eve Recognizable by the visual type that was developed during this time Shameful nudity Prefiguration Binding of Isaac Daniel and the lion 8-9, Restored cutaway view and plan of Old Saint Peter’s, begun ca. 319, Early Christian o 313, Edict of Milan Ended the persecution of Christians o First monumental place of worship for Christians o Doesn’t exist anymore o Could hold 3,000-4,000 worshipers o Plan: Wanted to use a basilica plan because: It could hold people inside, instead of the Roman and Greek temple plans, where people worshipped outside Nave, aisles, apse: similar to traditional bacilica plan Transept Creates a focus on the apse Meant to hold the relics of Saint Peter Highly functional, then becomes more meaningful because of the cross significance Clerestory o Not concrete 8-17, Christ as the Good Shepard, mosaic from entrance wall of mausoleum, ca. 425 Early Christian o Naturalistic body o Foreshortening 8-24, Suicide of Judas and Crucifixion of Christ, ivory plague from a box, ca. 420, Early Christian Period Style: Early Christian Context, terms and concepts: Catacombs; fresco; continuities/distinctions between pagan Roman and Early Christian art; Combining Old testament and New Testament scenes; Prefiguration of the “New” (Jonah, Adam and Eve, Abraham and Isaac); Focus of early images of Jesus; Community houses; typical appearance of the exterior/interior of Early Christian churches; Tomb of St. Peter; Significance of Old St. Peter’s; Main features of basilican-plan church (apse, transept, nave, aisles); Reasons why Early Christians used the basilican plan; Mosaic: Tesserae; Emperor Theodosius banned the worship of pagan gods at the end of the 4 century; rare example of early Crucifixion scene Chapter 9 Images: th 9-4, Justinian as world conqueror (Barberini Ivory), mid-6 century, Byzantine o Rising up o Glorifying the emperor o Top section: Christ is center Christ has given Justinian this power to be a world conqueror o Female personification of virtue 9-5, 9-6, 9-7, 9-8, Views and plans of Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537, Byzantine o Church commissioned by Justinian o Red brick exterior o Dome o Lots of stuff have been added o Roman in scale but not style They didn’t have concrete o Wanted to compete with the Pantheon Never as stable o Used pendentives 9-13, Justinian, Bishop Maximianus, and attendants, mosaic, San Vitale, Ravenna, Italy, ca. 547, Byzantine o Bodies are elongated, not interested in anatomy o No mass or weight o No space, compacted o Gold coloration behind heads o Fully frontal 9-18, Virgin (Theotokos) and Child between saints, encaustic on wood, 6 or early 7 century, Byzantine 9-19, Virgin (Theotokos) and Child enthroned, apse mosaic, Hagia Sophia, 867, Byzantine 9-22, 9-23, Christ as Pantokrator, dome mosaic, Church of the Dormition, Greece, ca. 1090-1100 Period Style: Byzantine Context, terms, and concepts: Byzantium; Eastern Christian Roman Empire; First Golden Age under Justinian; Theocracy; Orthodoxy; Holy Trinity; Continuities between Old and New Rome; Equestrian statue of Marcus Aurelius; Church of Holy Wisdom; Roman in scale but not concrete construction; Pendentives; Domed basilica; “Floating dome of Heaven”; Symbolism of light; Mosaic; Tesserae; Distinct characteristics of the new Byzantine aesthetic; Paten; Eucharist; Christogram; nd Theotokos; Icon; “Stimulate spiritual seeing”; Iconoclasm; 2 commandment; Resotation of Images; Pantokrator Chapter 10 Images: 10-2, 10-3, exterior and interior views of the Dome of the Rock, Jerusalem, 687-692, Islamic 10-4, Aerial view of the Great Mosque, Damascus, 706-715, Islamic 10-6, Aerial view and plan of the Great Mosque, Tunisia, 836- 875, Islamic 10-1, 10-9, Aerial view and hypostyle prayer hall, Mezquita (Great Mosque), Córdoba, Spain, begun 784, Islamic 10-1, 10-10, 10-11, East gate, maqsura, and dome of the Mezquita (Great Mosque), Cordoba, Spain, 961-965, Islamic 10-26, Mihrab, from Iran, glazed mosaic tilework Period Styles: Islamic Context, terms and concepts: Arabian peninsula; Muhammad: Mecca; Medina; Hijra (622); Islam; Muslim; Koran; Expansion of Islam in the 7 and 8 century; Distinct characteristics of Islamic decoration; Umayyad Dynasty; Miraj; Significance of the “Rock” site for all monotheistic religions; Main features of Mosque (qibla wall, mihrab, minaret, hypostyle hall); precedents fro early mosque type; Maqsura
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