Description
HOA 105 Test #1 Study Guide
Week I
Introduction + Prehistoric Art
1. WOMAN FROM WILLENDORF
Austria. c. 24,000 BCE. Limestone, height 43/8" (11 cm).
Test yourself! (Cover the information up and leave
the picture only)
Name? Date? Location? Features?If you want to learn more check out When did they establish Texas Legistalive Council?
Don't forget about the age old question of Is it true when assets purchased as a group?
The belly button was preexisting in the stone
Possible meanings of this art: 1. she is comfortable and more than sufficient supply of food>certain status or wealth make her look like this. 2. swelling belly and breasts, and hip, sexuality, fertility, 3. the real scale fits in the palm of your hand that is easy to move around, it can convey a sense of meaning to people who carry this around 4. prehistoric people may know stones and other things on earth that. 5. No face on the head, no metal carving materials back in prehistoric time, so maybe they don't know how to carve the facial features or they intended to do this. 6. It might be a divinity. 7. The arm position rest just above the breasts (with the absence of the face), maybe the artist intended to emphasize the body of the sculpture
2. LIONHUMAN
From HohlensteinStadel, Germany. c. 40,000–35,000 BCE. We also discuss several other topics like Who is Mack Sennett?
Mammoth ivory, height 121/4 × 27/8" (31.1 × 7.3 cm).
Test yourself! (Cover the information up and leave
the picture only) Name? Date? Location?
Features?
Carved from several different pieces and put together
Pretty fragmentary form
Artisans vs artists vs craftsman
It might be a type of God because it has features of both human and animal, We also discuss several other topics like What are the seven functions of advertising as a marketing tool?
divine or supernatural figure; someone has an idea about a combination of nature and human, the ambition or hope for that strength realized in this piece, artisans
have a power of creating something that has never appeared before, hybrids
creature that amplify human nature; the balancecelebration? Held by hand? The occasion of using this?
Week II
Ancient Near East Art + Note Taking Session If you want to learn more check out Metabolic Activity means what?
1. Victory Stele of NaramSin, ca. 2250 B.C.E., limestone, Height, 6 ft. 6 3/4 in
Test yourself! (Cover the information up and leave the picture Don't forget about the age old question of What is the diagnostic phenotypic ratios?
only) Name? Date? Location? Features?
Naram-sin: the biggest and most powerful person in the sculpture, stands on the upper part of stele, hierarchy scale-->the most
important figure is the biggest and the rest diminishing-->visual tool Not a natural pose, kind of expressionist quality-- expressing power: ownership, dominance, holding weapons, he is holding weapons as a pose instead of attacking or defending, his body shows the sign of presence rather than movement, physical domination--.body twisting and shoulder and chest shows to the front, not a natural pose but mean to display this muscular torso and emphasize the sexuality and gender.
Image that taken the presence and unbreakable power goes into the future
Our eyes are direct to the largest figure
Not a passive portrait, but pass the power to the future
Attribute of the signs of two sons on the top of the stele
2. White Temple at Uruk (modern Warka, Iraq), ca. 35003000 B.C.E.
Ziggurat: a signature architecture form of near east.
The monumental conditions of ziggurat.
Marble is largely used in ancient near east as a durable material.
3. HEAD OF A WOMAN
From Uruk (presentday Warka, Iraq). c. 3300–3000 BCE.
Marble, height approx. 8" (20.3 cm).
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Head of the goddess
The eyebrows would be some precious stones in
This is the core that would be magnified with additional materials.
4. TWELVE VOTIVE FIGURES
From the Square Temple, Eshnunna (presentday Tell Asmar, Iraq). c. 2900–2600 BCE. Limestone, alabaster, and gypsum, height of largest figure approx. 30" (76.3 cm). We don't really know the names of the figures
Stand and offer perpetual prayer
Extension of the person who commissioned them
Get beyond symbolic thinking but in fact symbols don't really operate the way we think they do.
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the picture only) Name? Date? Location? Features?
Week III
Ancient Near Eastern Art + Ancient Egyptian Art
Different cultures have different understanding about the relationship between the model and the representation
Representations are extension of the person or the God, they continue to act the way that the person or the God wanted into future
These objects are not dead objects to us but as a living object that depict God and people to people who made them
1. Sumerian:
Continue to offer prayer for people who made them
Perpetual prayer machine
Permanent part of the person and longlasted after the people who made them
2. Why these things can still have certain of power?
Adopted the God and move them to the other places>God agreed to become the protective new deity of the new cities and increase the power of that city
Idols>objects that have too much power. These objects from past have certain status. They take the eyes out first to diminish the lives of the objects.
3. Ziggurat
Platform to let human and God meets in the past
Usually flat
'human made mountain" that allowed human climbed closer to God and let God comes closer to human
Let human and God to find a place to interact
4. RECONSTRUCTION OF THE GREAT LYRE WITH BULL’S HEAD
From Royal Tomb (PG 789), Ur (presentday Muqaiyir, Iraq). c. 2600–2500 BCE. Wood with gold, silver, lapis lazuli, bitumen, and shell, reassembled in modern wood support; height of head 14" (35.6 cm); height of front panel 13" (33 cm); maximum length of lyre 551/2" (140 cm); height of upright back arm 461/2" (117 cm).
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Cultural heritage
Archaeology look for places that have been appeared in the Bible
West colonialism period, there was a convention dividing the archaeology and the country or institution about whether exporting or let the objects stay at the original country.
Accumulate the objects to increase the museum's prestige
Only the educated western archaeologists can get close to the objects from the past and study them.
Belief in kind of the afterlife, some extension of immortal and afterlife
Ritual functional meaning, extraordinary, wealth
Blue "beard": precious materials called lapis lazuli, can be found only in a few areas The front panel on sound box of the great lyre with bull's head: the white is shell, four different scenes, heroic man holding two human faced bulls on the top, dominates ownership. The lower three are three different scenes to show some kind of funeral rituals. Banqueting or funeral scene for the second frame. The lower one shows the entertainment activity of playing harp
5. SCENES OF WAR
The front of a box known as the Standard of Ur. c. 2600–2500 BCE.
Shell, lapis lazuli, and red limestone inlaid in bitumen, originally attached to the large sides of a rectangular wooden box, each 8 × 19 (20.3 ″ × 48.3 cm).
Relatively small box
Three different registers and form a scene of war
Upper part is the leader of the battle of campaign, the lowest part shows the objects are taken away
Hierarchy style>narrative background
Other side: celebration of victory
Made from actual event
Test yourself! (Cover the information up and leave
the picture only) Name? Date? Location? Features?
6. HEAD OF A MAN (KNOWN AS AN AKKADIAN RULER)
From Nineveh (presentday Ninua, Iraq). c. 2300–2200 BCE.
Copper alloy, height 143/8" (36.5 cm).
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only) Name? Date? Location? Features?
Many of the objects moved from their find spots to middle east to today Philadelphia Taking the power of God from the original site to a new site
The damage it has attacked it gouged out the eyes of the figure showing the signs of it was left damaged, but you can show that you have power to destroy the power of God or king by destroying the object itself
Flattened nose: fell on a hard surface and cause the damage (it might be) Bronze casting
In terms of craftmanship, highly standard, details, represents generation of craftmanship, Bronze: reusable material, burn and remake, frequently lost the early period of art How does it look? The beard is an iconic attribute, the symmetry of the face, hair and
beard shows the power, chisels careful delating. The mouth is distinctive, the mouth is smooth, the material itself has a durable quality, textures look different from beard to the lips. Smoothness of the lips. His mouth is closed, seems static>the more powerful you are the more static you are. Stillness of the face represented an interior life that you can imagine, selfcontained, there is no emotion on his face because every wish is satisfied because of his power and authority. Realism>texture, high degree of details that is given. Difference between description of portrait and description of power.
Egyptian style of art has influenced last century's fashion, movies and theater and so on 7. FUNERARY MASK OF TUTANKHAMUN
From the tomb of Tutankhamun, Valley of the Kings. Eighteenth Dynasty (Tutankhamun, ruled c. 1332–1322 BCE), c. 1327 BCE. Gold inlaid with glass and semiprecious stones, height 21 1/4" (54.5 cm), weight 24 pounds (11 kg).
Test yourself! (Cover the information up and
leave the picture only) Name? Date? Location?
Features?
Not difficult to find, once you dig in, you will find many wealth, attracts robbers Elaborately decorated with the most precious materials
People don't want to go to die but Egyptian was on the opposite, you can get a better life in the afterlife
Even more pleasant and spiritual experience afterlife
With the things they are going to use in the afterlife are also buried together
8. The Palette of Narmer
From Hierakonpolis. Early Dynastic period, c. 2950 BCE.
Green schist, height 25" (64 cm).
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Nile>the country floods, the water left fertiled soil so the agriculture was good in Egypt back then
Narmer, one of the earliest things left from Egyptian kingdom
Two sided palette, it was not laid flat in its original context, the right side picture is the "face" side. Ritual cosmetic
Oversized human size on the left picture, and highly unnatural pose of the person on the ground, pose of power and pose of enemy is always to be banished
Bare foot, divine figure, only super human can go to a battle bare foot
Two figures below: two people that have already been banished
Although they are unnatural pose, but it shows statues of people
Egyptian enemy souls is eternal banishing>determinated to darkness>strong power of controlling life. Execution beyond just being killed
Strong, divinity, afterworld, conventional, pattern/stylized (not realistic), narrative, iconic, hierachy/political/social ststues How to do comparison? Materials, styles, purpose, iconography
Week IV
Ancient Egyptian Art + The Ancient Aegean World
1. ELEMENTS OF ARCHITECTURE: Mastaba to Pyramid.
Began as relatively simple,
Sardab, place for deceased person
Complexity of the architecture
It is sealed once you put all the cost statues are in
Holy untouched royal tomb
Mastaba is the earliest form of pyramid
Scale and prestige of the building
Functional building
2. THE STEP PYRAMID AND SHAM BUILDINGS, FUNERARY COMPLEX OF DJOSER
Limestone, height of pyramid 204' (62 m)
Sham: exist for the use of ghosts of the pharoah, for the use of that person's afterlife. Recognize from outside
Vs
3. Ziggurat of the moongod Nanna at Ur
Primary function of ziggurat: ritual, use ziggurat as a focus of ritual, communal, rise at relative flat landscape, ritual is intended to allow perceptions to close to the heaven and above the plain>intermediary zone of God and human allow them to meet, geography condition>flooding, materials,
4. Great Pyramids, GIZA
Three great pharoahs, three pyramids
Commemoration
Munument
5. Great Sphinx
Highbyrid creatures, lionman
Human imagination
6. Khafre
Durable stone, gneiss, extremely hard stone and rare, took much effort to carve and transport
Each side is a separate side
Symbols of power and authority
Perfect body with ratio
Handsome smooth face, eternaly untroubled and steady
*Europe, western art
They did not join Greece until 19th century, Greece was a fragmentary country until about last century. What we mean by Greek here is different than nowadays Greek.
Has nothing to do with language for what we are going to look at today because most of them are prehistoric without text
The culture itself can only be defined for the objects it remained since there are not much language or record left
7. Figure of A Woman, Cyclades, c.26002400 B.C.E.
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picture only) Name? Date? Location? Features?
Cycladic art: mostly small (it can be as large as 5 ft, largest found), usually carved from a single marble, most are found in the clusters of Aegean island and sea. The two hundred years range is determined by archaeology strategy, can be more or less.
Scholars became more interested in ancient Greek art style
History of colonialism, the issue of classic
The question of prehistoric nature and explanation, archaeology context tells us very little, appearance on the market of these objects show lack of province of archaeology. >basically what we know is what we see, but we are limited only to what we see
They look modern, relatively reduce abstract form, percussion and emory board to smooth, a level of consistency and clearity
It seems to be a female, hands around chest, often bleached and have paint apply to >they don’t really have identify features, we can't tell whether this is a portrait, might relate to ritual application, encounter echo in modern art that pick up similar element
8. William Blake Richmond, "Sir Arthur Evans (18511941) Surrounded by the Minoan Artefacts"
Linear A language, undeciphered language still
Arthur Evans was a son of a wealthy manchester of industrializationist, was able to do research on archaeological signs of ancient art
He went on to explain Minoan cultures
Political and social character of Evans
The site was unfortified, so he claimed, with the archaeological evidence he found, that Minoan was pacifist
A way of understanding particular questions
Herbert List of Photograph of Palace of King Minos, Knossos, 1937 king Minos was the stepfather of Minitour (half man half bull)
Young men and women sacrifice for Minos and Minitour
Evans take those legend and apply to the site he find
When he uncovers the complex, he found a jumble of building, new civilization >Minoan
9. Seal/Ring from Royal Tomb at Isopata, Crete, Greece Minoan
Women
Figure of snake goddess, Minoan, 17001400 B.C.E.
They look difference than they should since most of them are reconstructed, because they were found mostly in fragment
Striking portrait
Thin waist, scoop around her breast, arms threatening with snakes in her hands, her dress The snake traditionally can go different ways, it can be bad things or eternal symbols etc. Interaction of human and animal can be a sign of superhuman ability Intention staring
12 inches high, not too big
Purpose or function of this can be altered because of its scale
Pretty fragile, ceramics
10. Palace of Minos at Knossos, Above Hall of the Double Axes, Theater, NW. corner, view to SE, ca. 15501520 B.C.E.
Fortifications, military
Large plaza,
Evans reconstructed with cement (no archaeologist will do it now)
Throne room
Fresco fragment, plastering the wall when the paint is wet the wall will absorb There is a seat in the center of the room but not sure whether it's a throne Ground Plan shows the elaborath, not symmetry or logic as expected, many stores room and containing room,
11. Bull Leaping
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the picture only) Name? Date? Location? Features?
Accuracy is still in question
The bull as a figure was important for Minoans and appeared many times Certain stylistic form
Communication between these cultures
The youth jumping on the bull>activate pose
Narrative is unfolding, we can identify this has beginning, middle and end Minoans have much more realistic art
12. Heinrich Schliemann (182290)
Industrialized noble family man, knows many languages, extrordinarily selftaught man Wants to prove Homer's poems
Many of them are orally last to generations
At Schliemann's time, no one believes that Homer was true, he wants to prove that Homer's poems happened
Troy>nowadays, Asian corner of Turkey
He bulldozing the sites to find archaeological evidence
He did find the palace of Mycenae on the middle of hills
Mycenaian: Lion Gate at Mycenae
He gazed upon the face of Agamemnon, he claimed
Week V
Greece Art
1. Exekias (potter and painter) AJAX AND ACHILLES PLAYING A GAME c. 540530 BCE. Blackfigure painting on a ceramic amphora,
height of amphora 24" (61 cm).
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Engaged interaction between Achilles and Ajax
Moment of life outside of the battlefield
Competitive event, typical ancient Greek society
Agony>agonistic, not painful but competitive society>hallmark of ancient Greek society
Both dress for battle>reenter the battle,
After Achilles death, Ajax, Achilles best friend took his object
This is a funeral object
Ancient Greek mix sea water and wine in a vessel, they think only babarian use pure wine
Funerary meaning
Greek attitude to death: the end of anything meaningful, your ghost survived after death but degraded, death is a really terrible thing. Different than Egypt, death is a preparatory for afterlife
Greek has a really dark shade about afterlife, they think people should live a good life and die a good death
Many ceramics are assigned
Hard to contribute the art with artists exactly
believe of body acting in space
Degree of naturalism of Greek art
2. Attributed to the Hirschfeld Workshop FUNERARY KRATER
From the Dipylon Cemetery, Athens. c. 750735 BCE. Ceramic, height 425/8" (108 cm). Test yourself! (Cover the information up and leave
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Rather geometric shape
Schematic
Symbolic acts for human figures
Increase in the interest in figure>naturalism
3. Bull Leaping
Abstract, metaphorically to naturalism
4. STATUETTE OF A MALE FIGURE
From Palaikastro, Crete. c. 1500–1475 BCE.
Ivory, gold, serpentine, rock crystal, and wood, height 191/2" (50 cm). Show some degree of naturalism
Compare to Kritios Boy
Moment of trying to enter naturalism and practical, Vs.
5. METROPOLITAN KOUROS
From Attica, Greece. c. 600590 BCE. Marble, height 6'45/8" (1.95 m).
Basic features
This figure belongs to pretty extensive figure
Nude figures
Delfgiven nsme, sometimes re called young man, somtimed are called gods
6. BERLIN KORE
From the cemetery at Keratea, near Athens. c. 570560 BCE.
Marble with remnants of red paint, height 6'3" (1.9 m).
Boys are always naked and girls are always dressed
Eternity of regenertijon
7. “PEPLOS” KORE
From the Akropolis, Athens. c. 530 BCE. Marble, height 4' (1.21 m).
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Paint in the hair
Most paint would fade, but Greek developed a paint that guarish, colors are strong It's not a portrait
Masculaminizing
Narrow hips
Typical young man;s body that firk
Identity
8. ANAVYSOS KOUROS From the cemetery at Anavysos, near Athens. c. 530 BCE. "Stand and pity beside the grave monument of dead Kroisos, whom, at one time, while fighting in the front ranks of battle, raging Ares destroyed.”
9. Kouros
The boy on the left vs the Kouros on the right
Hairstyle
Body proportion
On the left, more natural more details
Both marble but on the left is more smooth
The pose is different, the Kouros is more Egyptian style, the Kritios boy>weight shift, go from Egyptian frozen figure to small statue of a boy
10. The Kritios Boy vs Ernie Davis
Contrapposto
No ancient sports for women
Young man naked training
Self representation> young athele
Social category
11. Polykleitos, SPEAR BEARER (DORYPHOROS)
Roman copy after the original bronze of c. 450440 BCE.
Marble, height 6'11" (2.12 m); tree trunk and brace strut are Roman additions.
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Most survived as Roman copies
Roman think their cultures are more superior
Sign of wealth,
Putting different piece together
Marble is heavier than bronze>narrative value,
Human bodies proportions, ratios
Powerful expression, humanventer philosophy
12. The Persian Wars
To Greek here, everyone who doesn't speak Greek is barbarian
Parthenon, classic example of a Greek temple, stands as a symbol of liberation and freedom
Everything was held together by gravity
Plan of the Parthenon
Week VI
Roman Art
1. CAPITOLINE SHEWOLF
c. 500 BCE or c. 800 CE? (Boys underneath, 15th century CE).
Bronze, height 331/2" (85 cm).
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Unusual dating, ambiguity about dating
Kind of a foundation of legendary Rome story
The two brothers were left to die but rescued by the wolf
Roma, named after the brother's name
In latin, lupa is female wolf or
Rome believes they are the state of God's blessed empire, they get to control the world >sense of irony
Heroic/ironic
Stylisticly don't coordinate with the wolf itself, the two babies and the wolf Great deal of Egyptian art, straight position, profile view, head turns out to the viewers, being awared of the figures around, wolf is protective gestures>prepare to attack with teeth bearing, not a strong narrative tracking, not fully open object, kind of transitional piece, baby don is more naturalistic and the wolf is in different style, that's why hard to date
Two Roman art: Truscan, Greek art
2. HEAD OF A MAN (TRADITIONALLY KNOWN AS "BRUTUS")
c. 300 BCE. Bronze, eyes of painted ivory, height 121/2" (31.8 cm).
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picture only) Name? Date? Location? Features?
Strong realism especially portraiture
We don't know certain of this figure identity
Rome was formed as a state but eventually became a republic, democracy, ideal, Republic rule then broke by Augustus
Attention to detail, naturalism and a little bit realism
Age revealing,
Portraiture gives impression of rendering of individual
Hallmark of portraiture, manybe
3. PATRICIAN CARRYING PORTRAIT BUSTS OF TWO ANCESTORS (KNOWN AS THE BARBERINI TOGATUS)
End of 1st century BCE or beginning of 1st century CE.
Marble, height 5'5" (1.65 m).
Deceased elite
Death is an elite man,
Ritual
Contact
Carry their nsmes into the futue
5. AULUS METELLUS (THE ORATOR)
Found near Perugia. c. 80 BCE. Bronze, height 5'11" (1.8 m).
About lifesize,
Equal to the viewerequalizkdk
Emgage with the world
More active
Authority status,
Look out to the far
Not creating equal relationship beyween viewers and the object
6. AUGUSTUS OF PRIMAPORTA
Early 1st century CE. Perhaps a copy of a bronze statue of c. 20 BCE. Marble, originally colored, height 6'8" (2.03 m) [Fig. 0618]
Test yourself! (Cover the information up and leave the picture only) Name? Date? Location? Features?
Great worrior
Superficially republic
Augustus became the throne
Sole power in 27 BCE (?) NO LONGER CIVIAL WAR
Leader
When he died in 14 CE, death sent into heave as a God
Big, but not his actual size because he was not a big man
Bare foot>divine, super humanly, only bare foot or God can enter into the battle >symbolic, and he is wearing a battle costume but it is more ceremony rather actual battle clothes
He was adopted by Julia Ceaser
Dolphine>symbol of divine
Related to Venus, Julia Ceaser trace himself back to Ameus
Divine blood running through the whole family tree, even adopted
This was a garden sculpture for Augustus widow
This is a copy, because the arm is a chancy pose for standing still
Propoganda, power of state
Breast plate communicates Augustus own authority and power: torch carrying flying woman, proper turning of the universe, cosmological significance
From Partheons, defeated Roman army and taken them back
Major prestige for Augustus himself
7. GEMMA AUGUSTEA
Early 1st century CE. Onyx, 71/2" × 9" (19 × 23 cm).
More extrodinary in terms of skills
Valuable, rare stone
Augustus in throne, Zeuslike, elements rotate around as a good world, language of metaphor
Kind of realism but brings the emotion
8. Catacomb
Underground
Smell and odor, atmosphere, uncanny, strange experience
Used by all Roman except the highest Roman, because the highest Roman can buy commemmoration, the rest of Roman like nowadays buy or rent a place in catacomb to burry their deads.
It looks like a file drawer and they put bodies in their
Roman have separate feasts day that commemorate their families or friends Underground for burrial but not for feasts or celebrations
Most catacombs don't have decorations
All Romans use caticums; they are used for burrials not for rituals; they are uncanny
Jewish art under Roman empire
9. Jews only make nonfigural art
Iconic/nonfigural: no human figures or even living figures included Reason? Hebrew scripture: Jew is believing that believers of God should not create images representing living creatures especially for God
10. ARK OF THE COVENANT AND MENORAHS
Wall painting in a Jewish catacomb, Villa Torlonia, Rome.
3rd century. 3'11" × 5'9" (1.19 × 1.8 m)
The chest that God ordered Moses to create
Powerful symbols but no rendering human figures or for God
11. Differences between Jews and Figures
Political, racial, humanity,
Jews were seen as not fully human or less than human because they don't have tradition of creating figural art
This caused tragedy in races and interpretations of art
12. Euphrates,
looking north from Dura Europos
Jewish art history is just like other art history that represents their faiths Dura Europos, a city was destroyed around 260 CE by army that never resettled Far eastern corner of Roman empire
Aerial View of Dura Europos looking north
Originally unknown but disovered British during the war
Great tragedythe site plays an important role in understanding Jewish Christian art but was fully destroyed and hard to know the history behind
Over the western wall is the desert and undefended side
View of western wall, Dura Europos—1930s
Slope of the wall,
Plan of southwestern corner of walls of Dura Europos, with underground tunnels of Persians and Romans
Ramparts, partly excavated, at western wall—Dura Europos
City Plan of Main Buildings and Temples at Dura Europos
Fully decorated about Hebrew inscription
Synagoge was at the west of the wall
Synagogue, Dura Europos, 2008
When archaeologist bring remains back
13. Torah niche wall, Dura Synagogue, now in National Museum, Damascus Synagogue Frescoes, Dura Europos,
now in National Museum, Damascus
Diagonal coming down at the right
Based on the complexity of this one, we assume that there are other synagoges, but this is thson
Consecration of the Temple; Aaron the High Priest,
14. detail from Dura Synagogue
Special relationship between Jews and the God
Most Jews in Roman world would speak Greek'
Ritual sacrifice, candle
15. Temple of Dagon Devastated by the Ark (see 1 Samuel 5.2–7), Childhood of Moses, detail from Dura Synagogue
Special protection power of God>infant Moses on the bottom
Define themselves as special people chosen by God
Why would they work so hard to make it look so endure? Synagogue against
16. Isometric View of Christian Community House,
with Baptistery in upper righthand corner, Dura Europos
Big meeting/community center
Baptism was only for adults in that time
Christian community is uch smaller, reuse Jewish community building
17. View of Baptistery at Dura as it was being excavated
Only house church that served before the period of 4th century
18. Baptistery from Dura—now in the collection of the Yale University Art Museum Lunettte above Baptismal Font: The Good Shepherd and his Flock, Adam & Eve, Baptistery at Dura
Rough sketches'Original sin
Flock>symbol of Jesus
Fresco from Dura Baptistery—healing of the paralytic
19. THE GOOD SHEPHERD, ORANTS, AND THE STORY OF JONAH Painted ceiling of the Catacomb of SS.
Peter and Marcellinus, Rome. Late 3rd–early 4th century
Jews and Christians in that world were Romans, they share community value and shard the language
Figure of good shepherds, praying figures on the four corners
20. Sarcophagus Front with Jonah and Christian Scenes
late 3C
marble, height: 69 cm, Vatican Museums
Flesh eater>Sarcophagus
Death and afterlife
Christians use scenes from Hebrew scriptures
Hebrew scriptures have Christian meaning
21. Sarcophagus, detail: Jonah and the whale, ca. 270, Santa Maria Antiqua, Rome/ Sarcophagus, detail: Endymion, ca. 150
Early Christian are using Roman visual language to depict their ideas Endymion, Greek hero beloved by Moon God, give him eternal life but always asleep Iconography>Jonah as Endymion