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Exam 4 Study Guide

by: Caroline Crews

Exam 4 Study Guide ARH 252

Caroline Crews

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About this Document

This study guide is for the 4th exam.
Art History
Anna Dietz
Study Guide
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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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