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Part 2: Unit Exam Essay Questions
(from previous Art 260 tests)
(from AAT4)
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Describe the components of the Islamic mosque, including the plan and the interior, and the functions of each
section.
Discuss the various population shifts and the effects on artistic style in different parts of Europe during the Early
Middle Ages.
Compare the Scandinavian cosmos with the ancient Greek cosmos. How are both different from the Christian
cosmos?
Discuss the relationship of the written word to the Word of God in Islam and in Christianity. How is it manifest in
works of art?
Describe the procedure by which manuscripts were illuminated. How do illuminated manuscripts compare with
papyrus texts?
Describe the development of pictorial style under Charlemagne. How does it reflect his Classical revival? How did this
change in the Ottonian period?
Discuss the pictorial techniques used by the sculptor of Hildesheim's bronze doors in the scene of Adam and Eve
Reproached by God. How are these techniques used to convey the desired message?
Learning Goals (AAT4)
After reading Chapter 9, you should be able to do the following:
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Indicate the expansion of Islam on a map
Draw and label a plan of the Córdoba mosque
Discuss Islamic calligraphy
Describe the main tenets of Islam
Discuss the Islamic view of figurative art
Label a map of northern Europe in the Middle Ages
Relate Beowulf to the Sutton Hoo purse cover
Identify the works and define the terms featured in this chapter
Describe the technique of cloisonné
Describe the Scandinavian cosmos and compare it to the Greek cosmos
List the members of the Norse pantheon and their functions
Compare Scandinavian rune stones with Irish stone crosses
Describe the circumstances, techniques, and meanings of Hiberno-Saxon manuscript illumination
Describe the Carolingian Classical revival
Label on a map the Holy Roman Empire under Charlemagne
Compare the Aachen palace chapel with San Vitale in Ravenna
Describe the evolution of manuscript style under Charlemagne, and its change after his death
Describe the layout of the Benedictine monastery
Compare styles at Charlemagne's court with Ottonian styles
After reading Window on the World Five: "Mesoamerica and the Andes," you should be able to do the following:
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Identify the main Mesoamerican and Andean sites on a map
Identify the works and define the terms in this Window on the World feature
Label a plan of Teotihuacán
Draw and label a diagram of the talud-tablero platform
Describe the monumental quality of Olmec sculpture
Describe the Maya culture and explain its expression in art
Summarize the characteristics of Maya religion
Describe the origins and development of the Aztec empire and give its dates
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Label a plan and cross-section of Chavín de Huántar
Trace the various Andean cultures and describe their characteristic works of art
Discuss the use of composite forms
Describe the Inca empire and history; and discuss Machu Picchu and its significance
Chapter Outline (AAT4)
EARLY MIDDLE AGES, 5th–10th CENTURIES
Islam: birth of Muhammad in Mecca (c. 570)
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Islamic conquests (7th–8th centuries)
Mosques; the Koran; calligraphy; Dome of the Rock
Northern Europe: Anglo-Saxon metalwork
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Vikings (c. 800–1000): metalwork; rune stones; picture stones; Norse gods; Beowulf
Denmark becomes Christian (965)
Ireland: illuminated manuscripts; stone crosses; becomes Christian (5th century)
Carolingian Europe: Charlemagne crowned Holy Roman emperor in Rome (800); Palace Chapel; monastic rule
Ottonian Europe (10th–11th centuries): Saint Michael's at Hildesheim; Gospel book of Otto III
Mesoamerica and the Andes, 1500 B.C.–A.D. 1500
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Olmec (c. 1200–900 B.C.): colossal stone heads
Teotihuacán (c. A.D. 350–650): pyramids; talud-tablero
Maya (c. 1100 B.C .–A.D. 1500): calendars; ball game; Popul Vuh; Bonampak murals; Chichén Itzá
Aztec Empire (c. 1300–1525)
The Andes (c. 2500 B.C.–A.D. 500): Chavín; Paracas; Nazca; Moche; Tiwanaku; Wari
Inca Empire (c. 1438–1522): Machu Picchu
Summary and Study Guide
Define or identify the following terms:
AAT4 Key Terms
arabesque
literally meaning "in the Arabian fashion," an intricate pattern of interlaced or knotted lines consisting of
stylized floral, foliage, and other motifs.
calligraphy
handwriting designed to be beautiful; calligraphic writing or drawing can be expressive as well as
beautiful.
cloisonné
a multicolored surface made by pouring enamels into compartments outlined by bent wire fillets, or strips.
enamel
a vitreous coating applied by heat fusion to the surface of metal, glass, or pottery. See also cloisonné.
gilding
a decorative coating made of gold leaf or simulated gold; objects to which gilding has been applied are
gilded or gilt.
interlace
a form of decoration composed of strips or ribbons that are intertwined, usually symmetrically about a
longitudinal axis.
Kufic script
an early form of Arabic script in which letters are relatively uncursive; used later for headings and formal
inscriptions.
manuscript
a handwritten book produced in the Middle Ages or Renaissance. If it has painted illustrations, it is known
as an illuminated manuscript.
Mihrab
a niche, often highly ornamented, in the center of a qibla wall, toward which prayer is directed in an
Islamic mosque.
minbar
a pulpit from which a Muslim (Islamic) imam addresses a congregation in a ja¯mi' mosque.
mosque
an Islamic (Muslim) house of worship of two main types: the masjid, used for daily prayer by individuals or
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small groups; and the ja¯mi', used for large-scale congregational prayer on the Friday sabbath and on
holidays.
picture stone
in Viking art, an upright boulder with images incised on it.
polychrome
consisting of several colors.
qibla
a wall inside the prayer hall of a mosque that is oriented toward Mecca and is, therefore, the focus of
worship.
refectory
a dining hall in a monastery or other similar institution.
roof comb
an ornamental architectural crest on top of a Maya temple.
rune stone
in Viking art, an upright boulder with characters of the runic alphabet inscribed on it.
sahn
an enclosed courtyard in an Islamic mosque, used for prayer when the interior is full.
Scriptorium
the room (or rooms) in a monastery in which manuscripts were produced.
talud-tablero
an architectural style typical of Teotihuacán sacred structures in which paired elements—a sloping base
(the talud) supporting a vertical tablero (often decorated with sculpture or painting)—are stacked,
sometimes to great heights.
westwork
from the German Westwerk, the western front of a church, containing an entrance and vestibule below, a
chapel or gallery above, and flanked by two towers.
Chronology
Art Works
know these works by sight, title, date, medium, scale, and location (original location also if moved) and be able to explain and
analyze these in relation to any concept, term, element, or principle
Summary and Study Guide
Summary and Study Guide
Terms
be able to identify these by sight, explain these in relation to art, and know an example of each in relation to a work of art
barbarian
Period of Migration
animal style
zoomorphic
interlace pattern
cloisonné
Vikings
Hiberno-Saxon
scriptorium (scriptoria)
illuminated manuscript
carpet page
author portrait
Book of Kells
Franks
Charlemagne (r.768-814 king of Franks, 800 crowned emperor of Rome)
Aachen
Carolingian Renaissance
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Benedictine system
Coronation Gospels
Ebbo Gospels
Word of God
repoussé
Ottonian rulers
Bishop Bernward
crossing square
alternate-support system
pier
The Evangelists:
Matthew=head
Mark=lion
Luke=ox
John=eagle
Art Works
know these works by sight, title, date, medium, scale, and location (original location also if moved) and be able to explain and
analyze these in relation to any concept, term, element, or principle
Anglo-Saxon
− Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long.
Viking
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Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high.
Hiberno-Saxon
Cross-inscribed carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721.
Tempera on vellum, 1’ 1 1/2” X 9 1/4”.
Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on
vellum, 1’ 1 1/2” X 9 1/4”.
Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth
century. Tempera on vellum, 1’ 1” X 9 1/2”.
Carolingian Art
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Palatine Chapel of Charlemagne, Aachen, Germany, 792-805.
Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca.
800–810. Ink and tempera on vellum, 1’ 3/4” X 10”.
Ebbo Gospels, Evangelist Portrait of Saint Mark, Reims (Fr.), 816-35
Schematic plan for a monastery at Saint Gall, Switzerland, ca. 819. Red ink on parchment, 2’ 4” X 3’ 8 1/8”.
Psalm 43, from the Utrecht Psalter, from Hautvillers, France, c.820-835
Crucifixion, front cover of the Lindau Gospels, from Saint Gall, Switzerland, ca. 870. Gold, precious stones, and pearls,
1’ 1 3/8” X 10 3/8”.
Ottonian Art
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Saint Michael’s, Hildesheim, Germany, 1001–1031.
Doors with relief panels (Genesis, left door; life of Christ, right door), commissioned by Bishop Bernward for Saint
Michael’s, Hildesheim, Germany, 1015. Bronze, 16’ 6” high.
Column with reliefs illustrating the life of Christ, commissioned by Bishop Bernward for Saint Michael’s, Hildesheim,
Germany, ca. 1015–1022. Bronze, 12’ 6” tall.
Crucifix commissioned by Archbishop Gero for Cologne Cathedral, Germany, ca. 970. Painted wood, height of figure 6’
2”. Cathedral, Cologne.