AP ART HISTORY
Chapter 3 & 4 – Comparative
Mrs. Lawson
Due: (BOP)_______________________
Name:
CHAPTERS 3 & 4
ANCCIENT EGYPT & AEGEAN ART
ANALYSIS PACKET
DIRECTIONS: Use the attached worksheets to record information from assigned reading homework. On the reading
due date, turn in each assigned analysis page to Mrs. Lawson for a Reading-check grade. Then, add information
from class discussion to the returned pages. Upon completion of chapters, place entire analysis packet (with any
other notes stapled to the back) into the turn-in drawer for a completed-packet grade.
GRADING: Points based on: Reading and worksheets done outside of class and before material is discussed in
class; Notes demonstrate (show evidence) of appropriate analysis, interpretation of artwork, understanding of visual
elements & principles of design, media & techniques, and contextual meaning (relevant historical / social / economic /
political).
Architecture
Sculpture-in-the-Round
Architectural & Relief Sculpture
Painting
AP ART HISTORY
Chapter 3 & 4 – Comparative
Name:
Mrs. Lawson
Due: (BOP)_______________________
EGYPTIAN CULTURE & ART
Location: Nile River Valley
-Protected by deserts and confined to narrow river valley / centered in Lower Egypt
-Less subject to outside influence
-Rich fertile soil from river flooding ==> abundant food source
==> Resulting in a long unbroken continuity and stability / art and culture remain constant for thousands of years
CONTEXT:
Geographic isolation
-- desert location / country difficult to invade / easily defendable
Evident in => continuous traditions / homogeneous culture allowed to develop /
developed writing (hieroglyphics)
Economic security
-- agricultural base due to annual inundation of the Nile River
Evident in => -prosperity –because of grain, ample food, goods for trading with other
countries / trade gave Egypt the ability to create large building projects
- a stable and homogeneous society with an aversion to change and/or
innovation
Geological substructure -- plethora of stone (but no trees)
Evident in => megalithic architecture / idea of permanence became central to art,
society, and culture
Society-Hierarchical / stratified (**Evidence: from Pyramid Texts inscribed in tombs & ritual papyrus texts)
-Ruled by imperialistic monarch (pharaoh) / an incarnation of sky/falcon god Horus-linked to sun god
Re, pharaoh is son of Re from 4th Dyn. Onward / later in Old Kingdom, when king dies becomes
identified with Osiris, god of the dead / king responsible for maintenance of ma’at (ideal state of the
universe & society) in human society
-Powerful priests controlled the natural forces & gods / prepared rulers for life in the afterworld
-Artists were professionals with high social status / designed tombs, temples & palaces
-Individuals, as well as state & religious foundations could own land / individuals owed either taxes or
labor (or both) to government / personnel employed received rations – bread, meat, date cakes,
vegetables, beer  belief in the collective society
Evident in => collective will and order in society / philosophy of working for the collective good /
aversion to change or innovation
Strong Belief in afterlife ==> all life centered around religious beliefs:
-Polytheistic-anthropomorphic gods
-Obsession with life after death / Ka (soul) had to be preserved for eternity / death is an extension
of life
-Believed the pharaoh was linked to the gods of the universe / son of sun god Ra (falcon) / Pharaoh is the son of
God and becomes a God at death
-Egyptian rulers were worshiped as gods after their deaths
==> Resulting in most art being commissioned by the King (Pharaoh) for the tombs
Evident in => elaborate funereal traditions, objects, and tomb architecture
Artistic/Stylistic Characteristics:
Purpose
Most art made for tombs / linked to strong belief in afterlife
Conceptually Naturalistic & optimistic / the more naturalistic= the more chance deceased would be able to
use the object forever
Human figure Idealized cannon of proportion (systematic method of figure construction)= broadshouldered, narrow hipped, showing most characteristic parts at right angles to the line of
vision / law of frontality- faces rendered in profile with one eye visible from the front,
shoulders & torsos shown in front view (female could show only one breast), arms & legs in
profile, limb closest to the viewer in trailing position, standing figures always have feet on the
ground / great attention to anatomic details / emphasized most obvious view of each part of
the body, not an organic appearance = adding separate (naturalistic) parts together into a
composite or the sum of the parts / action is only implied / law of hierarchy- size (scale) of
the figures according to their social standing
AP ART HISTORY
Chapter 3 & 4 – Comparative
Name:
Mrs. Lawson
Due: (BOP)_______________________
Predynastic Period 3500-3100 B.C.E. – poorly understood in North (Lower) Egypt / better understood in South
(Upper) Egypt / no united central government / began as two independent Egypts / imperialistic ruler-gods,
powerful priests, artists professionals with high social status / built towns & monuments of impermanent
material (sun-dried bricks) –have not survived / mastabas –tombs for rulers & nobles / craft specialization
increases –mass production for a wider market / first hieroglyphic writing / surviving art of the period =
ceramic figures, decorated pottery, & reliefs on stone plaques
Early Dynastic (Dyn. I-II) 3100-2663 B.C.E. – Kingdom of two lands- Upper Egypt (dry, rocky, rustic) & Lower
(Archaic) Period
Egypt (opulent, urban, populous) / King Narmer (Menes) of Upper Egypt conquers Lower Egypt = Start
Dynasty I, Egyptian history begins with unification event celebrated in Palette of Narmer
The Old Kingdom (Dyn. III-VI) 2663-2195 –agricultural society, highly stratified, ruled by deified pharaohs /
religion-polytheistic=anthropomorphic gods, pharaoh believed to be son of sun god Ra (falcon)
First Intermediate Period (2195-2006 B.C.E.) – Old Kingdom ends with Pepy II (Dyn. VI) / Society becomes less
stable, social & political upheavals follow, anarchy, poverty (18 kings & 1 queen in next 20 years) / provincial
governors have some power in Upper Egypt / no evidence for Lower Egypt / coincides with flooding cycle of
Nile & famine records report drought
Middle Kingdom (Dyn. XI-XII) 2066-1781 B.C.E.- period of instability, invaded by Hyksos, capital shifted from Lower
to Upper Egypt / finally, Mentuhitep II reunifies Egypt, / records indicate foreign contact, relations & trade /
continue building pyramids- smaller scale = realized size & secrete tomb chamber does not discourage grave
robbers / size of sarcophagi increases– become large & heavy / more pessimistic attitude toward life & death /
middle class now believed their afterlife depended on their character & morality
Second Intermediate Period (1800-1550 B.C.E.) – invasion & domination of the Hyksos (rulers of foreign lands),
capital moves to Avaris / introduced the horse, weaponry & techniques of war / conquered by king Ahmose I
New Kingdom (Dyn. XVIII-XX) 1550-1070 B.C.E. – Ahmose I reunifies Egypt & drives out Hyksos / extended
boarders by conquest (Euphrates to the Sudan), & wider foreign contact & trade with Asia & the Aegean
islands / booty taken in wars & tribute makes possible establishment of a new capital & metropolis in ThebesEast Bank= temples of Amun at Luxor & Karnak, West Bank= mortuary temples & Tombs (Valley of the
Kings) / local God, Amen elevated & merged with sun-god Re / pharaoh supported by powerful priestly class /
nobility & middle class have more privileges / optimistic mood returns / period of grandiose temple complexes
/ 2 temple districts = Karnak & Luxor
Amarna Period – (later Dyn. XVIII) 1352 B.C.E.
***Concept: The Amarna Revolution
The artistic revolution of Akhenaten is a major concept in the survey of Egyptian art, and one likely to appear
on the AP* exam. Students should be able to explain how art of Dynasty 18 differed from the art that
preceded it. Constructing a table of characteristics is a useful way to help students learn and understand the
changes.
Amenhotep IV (changed name to Akhenaten (Ak-uhn-AH-tan)= One who Is Effective on Behalf of Aten) –
ruled for 17 years / radically transformed the political, spiritual, & cultural life of Egypt / founded a new
monotheistic religion honoring a single supreme god – Aten, sun god (symbolized by disk with rays ending in
human hands, some hold the ankin= symbol of life) – severed ties with the priesthood, made many enemies /
emphasized openness of worship / moved capital from Thebes to Tell el-Amarna (period name Amarna) /
stressed the philosophical principle of ma at / After death returned to the old ways, destroyed the buildings to
erase his memory
Evidence => Amarna letters (cuneiform tablets written in Akkadian), correspondence from governors of foreign outposts
Late Period (Dynasties XXV-XXX) 1070-333 B.C.E.
Ptolemaic Period 333-30 B.C.E.
Roman Domination 30 B.C.E. – 480 C.E.
Foreign rule of Egypt ended the cultural independence of Egyptian art.
AP ART HISTORY
Chapter 3 & 4 – Comparative
Name:
Mrs. Lawson
Due: (BOP)_______________________
AEGEAN CIVILIZATIONS (Cycladic/Minoan/Mycenaean) = c. 3000-1100 BCE
Until 1870 thought was a myth=Homer’s Greek Epicsbasis of Greek traditions & beliefs
Time=Contemporary with Egypt & Mesopotamia
Dominated by geographical location-mainland Greece & offshore Aegean Sea islands / common language
Primarily farmers & herders-but influenced by the sea / skillful seafarers
Traded with many culturesexchange of ideas
Practiced fertility rites & worshiped animals-buried dead in stone tombs
Few documents have survived-script has not been adequately deciphered= knowledge is vague
CYCLADIC – c. 3000-1600 BCE – located on the islands of the Cyclades
History/Culture: late Neolithic & early Bronze age culture / engaged in agriculture, herding, manufacturing & trade / seafarers / used
local stone to build fortified towns & buried dead in stone tombs with sculpture / no written records
Art: Sculpture-most figures found in tombs- religious purpose / free-standing, portable / carved gypsum, alabaster & marble,
technique- cutting, chiseling, & gouging (unnecessary stone removed, increasing openness of forms) – surface smooth
polished with powdered abrasives / most originally painted with red paint / small scale/ closed form-marble female nudes
most common- flat, rigid shapes, inactive poses / may represent cult goddess / male figures- open form secular- seated
musicians- tubular form, rounded, active poses/ complete human form (no missing parts)- details simplified & streamlined
/ sizes range from few inches to almost life size / stylisticallysimplified – stylized forms / arms folded on chest / face
devoid of features-except nose / partly painted
Pottery- hand-built stoneware various decorations / thick-walled jugs & cups / irregular & squat shapes / unpainted-decorated
with embossed or stamped linear & geometric patterns
MINOAN ART – c. 3000-14000 BCE – located on Crete (Old & New Palace Periods)
History/Culture: name from legend of King Minos (Minotaur) / built several palaces-Knossos / founded theocratic government /
economically self-sufficient= agriculture & herding / also wealthy sea power / writing- Linear A & Linear B (translated)
practiced fertility rites / worshiped animals (bull & lions) / no fortification of Palaces=peaceful / great power
Art: Architecture- Palace most important building type / open plans, organic arrangement of space, hilltop sites, no
fortification / emphasis on horizontal elements & comfortable proportions / feature=inverted or tapered
column=wood not stone, cushion shaped capital / materials= stone for walls, foundations & roofs, timber for
columns, doorjambs & beams, post & lintel construction / plans= irregular, asymmetrical, rooms constructed on
various levels around rectangular courtyards & open terraces, over hill side without fortification, open courtyards,
terraces, light shafts & windows provided light, open interiors / bright, intense colored surfaces- reds, blues,
yellows
Palace Culture Emerges / 3rd millennium BCE = most settlements were small & consisted of simple buildings-Old
Palace period ended around 1700BCE—probably destroyed by an earthquake /2nd millennium (Middle Minoan
period on Crete) contrastbegins construction of palaces to house kings, priestesses, and the retinues /
rebuilding began which becomes the golden era of Crete=the New Palace period- rebuilt palaces were large,
comfortable and beautiful / staircases, courtyards for pageants ceremonies and games, store rooms, office and
shrines / complexes served as the key administrative, commercial and religious centers of Minoan life==also as
royal residences
Sculpture- Most found in sacred places- purpose assumed to be religious / free-standing, portable, small scale / subjectsSnake Goddess (priestesses), human figures (acrobats & bull jumpers), bulls & bull-heads (Bull-heads used as
rhytons – drinking cups) / materials=wood, ivory, precious metals, stone & faience / techniques- modeled,
carved, hammered – quality craftsmanship / design- curvilinear & dynamic forms, emphasized expressive
movement & joy, details carved or painted on forms / ritual objects- female figurines incorporating serpents =
associated with water, regenerative power & protection / stylistically=naturalistic & stylized elements are
combined / figures have short torso, narrow waist, long limbs, sensitive facial features / bulls worshiped bull
god / metal works – repousse / ceramics with sea motif, “bull” jumping & harvest scenes
Painting- Wall painting important in palace decoration- placed on interior & exterior walls / large scale/ material= (true)
fresco / purpose= religious & decorative/ subjectslandscapes, ritual events (bull jumping ceremonies),
processional, ceremonials, & dancing, landscapes & seascapes, nature (birds, animals & flowers) / bright colors
(not always natural), black outlines; color filled in, males red-females-yellow / stylized-natural forms- anatomy
fairly accurate-eye in profile / suggest active lifestyle-pose fluid, never stiff, curvilinear, joyous mood / colorful
patterns based on sea shells / bright, free, fluid, lively scenes / motifs assumed to be symbolic because of
repetition / very skillful
-Pottery- subjects= marine life & plant forms / potter’s wheel introduced around 2000 BCE / clay buff or reddish,
fined grain, thin walls, (eggshell ware), no glazes-decoration applied with engobe / three styles- all elegant,
elongated shapes
Kamares ware- c 2000-1600 BCE – decorations abstracted from nature, curvilinear & dynamic, covered entire
surface, white-on-black, occasional details of red & yellow
Marine Style- c 2000-1600 BCE – decorations naturalistic recognizable sea life, covered entire surface, blackon-white
Palace Style- c 1500-1400 BCE – decorations stiffened, formalized subjects from nature, covered entire surface,
emphasized lines appearing as black-on-white
AP ART HISTORY
Chapter 3 & 4 – Comparative
Mrs. Lawson
Due: (BOP)_______________________
Name:
MYCENAEN – c. 1400-1100 BCE - Mainland Island of Greece
History/Culture-Origins of culture are debated by 1500 BCE culture was flourishing in Greece / Schliemann found through
Homer’s epic tail / influenced by Minoan culture / differencefortified palace complexes (Contrast sharply with the open
Cretan palaces) => reveal their defensive character/ built hilltop fortresses / governed by powerful Kings / aggressive
militaristic society / buried dead in stone tombs
Art: Architecture-Fortified citadels- palaces within / features: megaron-audience hall, corbelled arch & vault construction /
Mycenae= one of several large citadels- fortification walls / best preserved are the remains of the fortified palaces at
Tiryns & Mycenae -both built about 1400 BCE & burned between 1250 & 1200 BCE when overrun by northern invaders /
or internal warfare / cyclopean stone walls, palaces built of sun-dried mud-brick, true fresco decoration on walls / corbelled
arch, vault & dome of stone used= passageways within citadels (vault), gateways into citadels (arch) / no mortar used in
stone construction / Design- Citadels= plan irregular rectangular clusters of buildings with entrance gates framed with
corbelled arches; palace plan= rectangular rooms, megaron most important / Megaron used as audience hall or shrine,
rectangular enclosed on three sides, two columns framed porch in front, four columns inside held up roof & surrounded
circular hearth in center, considered to be source of Greek temple, true fresco wall & floor paintings
-Also grave circles, beehive (tholos) tombs / built of stone / tholos-type construction (dome) / tholos tomb most
advanced form, corbelled, beehive shaped dome
Painting- little has survived, true fresco in a style similar to Minoan / different subject matter= soldiers & armored females,
facial details & costumes different / Pottery= shapes & color schemes similar to Minoan works, different subjects =
warriors / one art form that did continue throughout the period after the downfall of the Mycenaean places was vase
painting
Sculpture= very little has survived, monumental figural art is very rare = one or two exceptional pieces found  life-size
statuary was rare but did exist / metal smithing & pottery more important than painting / Repousse technique highly
developed
VOCABULARY
abstract
register
ka
sarcophagus
demotic
pylon
obelisk
engaged column
colonnade
pyramidion papyrus
canon of proportions
modeling
hieratic
hypostyle hall
incised
dressed stone
gold leaf
passage graves
chevrons
terra cotta sculpture in the round
sunken relief
spirals
ashlar
shaft grave
rhyton
inlay
granulation
relief
corbeled vault
capstone
freestanding
temple complex rock-cut tomb
faience
pictograph
groundline
veneer
necropolis
relief sculpture hieroglyph
cartouche
clerestory
serdab
ziggurat
attached column portico
peristyle court
axial
palace complex ware
filigree
niello
citadel
relieving arch
course
megaron
relative chronology
corbel
cyclopean construction
running
absolute chronology
stylized
votive figure
post-and-lintel construction
beehive tombs façade
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
ARCHITECTURE
ANALYSIS
WORKSHEET
Page 1
(Required)
CRITERIA:
(Architect if Known)
Stepped Pyramid of Djoser,
pgs 99-104
Great Pyramids, Giza,
pgs 102-108
Rock-cut tomb, Beni Hasan, pgs
108-111
OLD KINGDOM- EGYPT / C. 26752626 BCE (Dyn. III-VI)
OLD KINGDOM-EGYPT / 2663-2195 BCE
MIDDLE KINGDOM-EGYPT c. 19911785 BCE (Dyn. XI-XII)
Relationship to site=
geography, climate, etc.
All life& art centered around religious
beliefs / Polytheistic-anthropomorphic
gods-Obsession with life after death /
Ka (soul) preserved for eternity / death
extension of life/ pharaoh linked to the
gods of the universe / son of sun god
Ra (falcon)-/ rulers worshiped as gods
after their deaths/ most art
commissioned by Pharaoh for the
tombs
Political stability / Djoser ruled c. 26812662 / complex earliest known
monumental architecture in Egypt/
agricultural society, highly stratified,
ruled by deified pharaohs
Stepped Pyramid – designed by
Imohotep (first architect known by
name / from a prominent family, highly
educated, served as a chief advisor on
affairs of state)
=> same
First to devote large sums of money and
labor to the design, construction, and
decoration of more extensive
aboveground funerary complexes/
massive effort needed to build funeral
complexes / great amount of wealth &
craft work in them / kept the economy
strong=high demand for goods and
services (towns near complex have a
temple to local god, often contain statues
of individuals or pharaoh) / a temple is a
center of economic & administrative
activity
=> same
-period of instability, invaded by
Hyksos, capital shifted from Lower to
Upper Egypt / finally, Mentuhitep II
reunifies Egypt, / records indicate
foreign contact, relations & trade /
continue building pyramids- smaller
scale = realized size & secrete tomb
chamber does not discourage grave
robbers / size of sarcophagi increases–
become large & heavy / more
pessimistic attitude toward life & death /
middle class now believed their afterlife
depended on their character & morality
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Mud brick / limestone veneer /
Features-series of 6 mastabas piled
on one another, entrance hall, fluted
columns (first to use), underground
corridors, burial chamber
underground
Stone - Granite & limestone
Most famous three monuments/ built by:
Khufu - oldest and largest-13 acre base,
height-450’/ Khafre slightly smaller, still
has some veneer at the top/ Menkaure
smallest of the three
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
King Zoser (Djoser) Funerary Complex
at Saqqara/ purpose protect tomb
=>provide a comfortable home for the
Ka of a departed king, so in the afterlife
it would continue to ensure the wellbeing of the Egyptian state
Formalism (visual):
Orientation / Form / Plan
Principles & Elements of
Design
Exterior
Temple on north side of pyramid,
court on south side / tomb walls
decorated with paintings & painted
relief sculptures / Large scale /
-Decoration
-Axis
Internal serdab & chapel / burial
chamber under / closed
=>
(Symbolism=angled side may have been
meant to represent the rays of the sun) /
built on the West side of the Nile-marked
pharaoh’s entrance to the underworld /
pharaoh’s absolute power symbolized by
the four sides oriented to the points of the
compass
Giza / large scale / site= west bank of the
Nile-symbolized entrance to the
underworld / 4 sides oriented to the points
of the compass symbolize the absolute
power of the ruler / standard elements of a
pyramid complex plan: Valley Temple - Tshaped hall, series of entrances,
causeway leading to Pyramid Temple /
Pyramid Temple (next to Pyramid north
side)– long, narrowing entrance hall /
great court (on south side), chapels
Pyramid – shafts, corridors leading
nowhere, corridors to burial chamber,
limestone rubble walls cased in granite /
burial chamber
Final form= true pyramid with a square
base and four sloping triangular faces /
standard elements of a pyramid complex
plan
Stone / Rock-cut-tombs replace
mastaba / burial chamber cut into rock
wall at remote sites / technique =
carved, columns appear to be bundles
of reeds, fluted columns (proto-Doric
style) with block capitals / ceiling
painted- appears to be a woven mat
pattern-symbolized the heavens /
subjects remain the same
Tomb of Khnumhotep / plan was similar
to the Egyptian home
Artistic Time Period /
Date / Orig. Location
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
grouped in necropolis
Interior Organization /
Scale/Size/Proportion
Space / Light
Expressive Content:
Commonalities /
Originality of
-Stylistic Characteristics /
Influences
-Manner of expression
-Dominant forms, motifs,
symbols
-Artistic training
-Key Concepts
Other relevant structures
and/or criteria
N wall Djoser,
engaged columns
Rock-cut-tombs replace mastaba =
burial chamber cut into rock wall at
remote sites / features: façade=
shallow, columned portico; tomb=
portico or vestibule, non structural
columned hall (decorative,
nonfunctional), sacred chamber / tomb
walls decorated with paintings & relief
sculptures –subjects remain the same
Tomb= portico or vestibule, non
structural columned hall (decorative,
nonfunctional), sacred chamber / tomb
walls decorated with paintings & relief
sculptures –subjects remain the same /
were also plundered
Replace mastaba / cut into rock wall /
remote sites / shallow, columned
portico / decorated chamber
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
ARCHITECTURE
ANALYSIS
WORKSHEET
Page 2
(Required)
CRITERIA:
(Architect if Known)
Artistic Time Period / Date /
Orig. Location
Context:
Cultural Belief System
(religion) / Historical –SocialPolitical-Economic PatronArchitect (relationship)
Location –Geographical
Relationship to site=
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Function / Purpose:
Symbolism / Iconography
Patron / Audience
Formalism (visual):
Orientation / Form / Plan
Principles & Elements of
Design
Exterior
-Decoration
-Axis
Interior Organization /
Scale/Size/Proportion
Space / Light
Expressive Content:
Commonalities / Originality
of
-Stylistic Characteristics /
Influences
-Manner of expression
-Dominant forms, motifs,
symbols
-Artistic training
-Key Concepts
Other relevant structures
and/or criteria
Pylon of Ramesses II,
pgs 114-119
NEW KINGDOM-EGYPT / c.
2009-1997 BCE
Funerary Temple Hatshepsut,
pgs 114-119
NEW KINGDOM-EGYPT / c. 20091997 BCE
Local God, Amen elevated & merged
with sun-god Re
Ahmose I reunifies Egypt & drives out
Hyksos / extended boarders- conquest /
foreign contact & trade with Asia & the
Aegean islands / booty taken in wars &
tribute makes possible new capital &
metropolis in Thebes- East / pharaoh
supported by powerful priestly class /
nobility & middle class have more
privileges / optimistic mood returns /
period of grandiose temple complexes /
2 temple districts = Karnak & Luxor/
Hatsheput- 1of 3 women rulers- ruled
for underage step-son/ had herself
declared Queen-reigned for 20 years
Stone / Hollowed burial chambers deep
in cliffs west of the Nile / entrances
remain hidden-temples built distance
from tombs / post & lintel / columns =2
types: bud & bell shaped
Temples served 2 functions- provided
king with place to worship his patron
god -mortuary chapel after his death /
sacred site = only pharaohs & priest
enter (few chosen people could enter
hall, majority of people only allowed into
open court) / temples line the Nile
corridor-may symbolize the Egyptian
concept of life
Pylon Temple Plan = bilaterally
symmetrical - a single axis that runs
from an approaching avenue through a
colonnaded court & hall into a dimly
lighted sanctuary / Corridor axis was not
deviated from for 100’s of years- makes
the temple not so much a building as a
path enclosed by might masonry / inside
is an open colonnaded court
-Oriented toward Karnak- axial /
elevated causeway- lined with sphinxes,
3 colonnaded terraces connected by
ramps, filled with lush gardens & pools
of water / visually aligned to site (cliffs) /
light/dark pattern of vertical columnswell proportioned & rhythmically spaced
/ integrated with painted reliefsculptures representing Hatshepsut’s
birth, coronation, & great deeds /
uppermost level-colonnade fronted by
colossal royal statues/ hypostyle hall
with chapels / Enormous Pylon
Temples & rock-cut tombs
Temples features - sloping walls,
monumental façade, flanked by 2 large
statues & 2 obelisks, sunken reliefs
honoring king & Queen / complex
projects=image of authority, union of
nature & architecture / largest building
program = temple at Deir el-Bahri,
designed by Senmut (chancellor,
architect-engineer, possible lover) / in
art, represented as male-called His
Majesty/ a hypostyle temple (influenced
Romans & Medieval architecture)
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
ARCHITECTURE
ANALYSIS
WORKSHEET
Page 3
(Required)
CRITERIA:
Palace of Knossos, pgs 131-134
Citadel at Mycenae, pgs 142-148
Treasury off Atreus, pgs 143-145
(Architect if Known)
Artistic Time Period /
Date / Orig. Location
Minoan / c. 1700-1400 BCE /
Mycenaean / c. 1600-1200 BCE /
Mycenaean / c. 1600-1200 BCE /
Contemporary with Egypt &
Mesopotamia
Contemporary with Egypt &
Mesopotamia
Contemporary with Egypt &
Mesopotamia
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
No evidence of temple architecture / few
religious shrines survive / women played
role in cult – associated with snakes
Palace Culture- 3rd millennium BCE
=early small & consisted of simple
buildings-Old Palace period ended
around 1700BCE—probably destroyed by
an earthquake /2nd millennium (Middle
Minoan period on Crete) begins
construction of palaces to house kings,
priestesses, & staff / rebuilding becomes
the golden era of Crete=the New Palace
period- rebuilt palaces were large,
comfortable and beautiful / staircases,
courtyards =pageants ceremonies and
games, store rooms, office & shrines /
farmers & herders- influenced by sea
Stone / Ashlar masonry/ bulbous,
cushion-like capitals / shafts taper from a
wide top to a narrower base / Destroyed
& rebuilt several times / Ashlar masonry
was used at building corners and around
door and window openings /drainage
=efficient system of terracotta pipes /
bathroom & toilets were luxuries at the
time
Home of king Minos /non-fortified
rambling structure built against the upper
slopes & across the top of a low hill above
a fertile plain / around the palace are
mansions and villas – may be high
officials residence? /complexes served as
the key administrative, commercial and
religious centers of Minoan life, & royal
residences
Labyrinth of the Minotaur- largest palace /
double ax= recurring motif / carefully
planned-courtyard =major organizing
element (rectangular court-with units
grouped around it) /Secondary
organization=two long corridors-west side
of the court / north-south corridor
separates official & ceremonial rooms
from storage areas / smaller east-west
corridor separates living quarters &
reception rooms from the workers &
servants quarters / northwest corner of
the place is a theater-like area with steps
on two sides that may have served as
seats (possible forerunner of Greek
theater) / 3 stories around the central
court & on the south & east sides
Interior staircases built around light & air
wells provide illumination & ventilation
Aegean=3 cultures / Inverted or tapered
column=wood not stone / irregular,
asymmetrical plans (planned) /thick wallsrough unshaped fieldstone imbedded in
clay / Ashlar masonry was used at
corners & around door and window
openings / well drained bathroom & toilets
/ 3 stories around the central court /
staircases built around light and air wells /
Painted columns bulbous, cushion-like
capitals / Shape-shafts taper from a wide
top to a narrower base / written script
Origins debated- by1500 BCE culture
flourishing in Greece / Schliemann found
-Homer’s epic tale / influenced by Minoan
/ difference= fortification- defensive
character/ built hilltop / governed by
powerful Kings / aggressive militaristic
society / buried dead in stone tombs /
complexes burned between 1250 & 1200
BCE when overrun by northern invaders
or internal warfare / Primarily farmers &
herders-skillful seafarers /Traded with
many cultures =exchange of ideas / Few
documents have survived-not adequately
deciphered= knowledge vague
Mycenae-mainland Greece / Best
preserved are palaces at Tiryns &
Mycenae / written script
Stone & masonry / Cyclopean masonry /
relieving arch/ capped with a huge
lintel=> a relieving triangle / megaronaudience hall
Royal tombs excavated by Schliemann
1876
best preserved  so-called mistakenly
believed to be the repository of the
treasure of Atreus – father of
Agamemnon & Menelaus
Fortified Citadel / complexes served as
Tombs –grave circles with shaft gravestholos tombs- beneath a mound /Wealthy
Mycenaens were laid to rest outside the
citadel walls in beehive-shaped tombstholos
Relationship to site=
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
Formalism (visual):
Orientation / Form / Plan
Principles & Elements of
Design
Exterior
-Decoration
-Axis
Interior Organization /
Scale/Size/Proportion
Space / Light
Expressive Content:
Commonalities /
Originality of
-Stylistic Characteristics /
Influences
-Manner of expression
-Dominant forms, motifs,
symbols
-Artistic training
-Key Concepts
the key administrative, commercial
and religious centers of life - also as
royal
Massive fortification walls / long ramp
approach- enter between the
walls=attackers were forced to reveal
their unshielded side to defenders above
/ series of narrow gates / Dominated by
geographical location /irregular,
asymmetrical plans (planned)
Interior most important element =
megaron – reception hall of the king /
main room had a throne against the right
wall / a central hearth / bordered by four
Minoan-style wooden columns serving as
supports for the roof /the throne room
was preceded by a vestibule with a
columnar façade **(a variation of this
plan later formed the core of some early
Greek temple plans)
Early architectural innovation corbelled
vaults / post & lintel construction /
relieving triangle / massive fortification
walls=Cyclopean Masonry / megaron /
main room had a throne against the right
wall
Practiced fertility rites & worshiped
animals / buried dead in stone tombs
Stone- corbelled arch, vault, & dome of
stone
Tholos tomb corbeled, beehive shaped
dome
beehive-shaped tombs- tholos /
covered earthen mounds – best
preserved / long passageway
approach / tomb chamber entry
through door-way with relieving triangle
/ series of stone corbelled courses laid
on a circular base-ending in a dome /
largest known vaulted space without
interior supports in antiquity (until the
Roman Pantheon)
Most advanced form
Corbeled, beehive shape
Other relevant
structures and/or criteria
Mycenae Citadel Tiryns
Air & light wells
Corbel-vault wall, citadel Tiryns
AP ART HISTORY
Chapter 3 & 4 – Comparative
Mrs. Lawson
Due: (BOP)_______________________
Name:
RELIEF
SCULPTURE
ANALYSIS
WORKSHEET
Page 4
(Required)
CRITERIA:
Palette of Narmer, pages 96-97
(Artist if Known)
Ti Watching A Hippopotamus
Hunt, pgs 106-108
OLD KINGDOM- EGYPT/ c. 25002400 / from Mastaba tomb of Ti,
Artistic Time Period /
Date /Orig. Location
Egypt / late Predynastic, c. 31003000 BCE / from Hierakonpolis
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –
Geographical
Land of stability- began as two
independent Egypts / imperialistic
ruler-gods, powerful priests, artists
professionals with high social status /
craft specialization increases –mass
production for a wider market / first
hieroglyphic writing Early Dynastic
(Dyn. I-II) 3100-2663 B.C.E. –
Kingdom of two lands- Upper Egypt
(dry, rocky, (Archaic) Period rustic)
& Lower Egypt (opulent, urban,
populous) / Narmer (Menes) of Upper
Egypt conquers Lower = Start Dynasty
I, Egyptian history begins with
unification event
Land of stability–agricultural society,
highly stratified, ruled by deified
pharaohs / kings of Dynastic 3 & 4 first
to devote large sums of money & labor
to design, construction, and decoration
of funerary complexes/ massive effort
needed to build / great amount of wealth
& craft work / kept the economy
strong=high demand for goods and
services -towns near complex have a
temple to local god, often contain
statues of individuals or pharaoh
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Slate 25”
Relief carving
Geometric, linear, & precise
Forms = flattened frontal surfaces
Painted limestone relief, approx. 48"
high
Relief carving
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
Historical document
Used for grinding malachite to produce
face paint for ritual purposes /
establishes kingship as divine
Narrative
Tomb Decoration (Painting & ReliefSculpture)—re-creation of life magically
in pictures to provide the ka with the
most pleasant living quarters for eternity
/ (especially in royal tombs) / Ti
Saqqara=official of the 5th Dyn
Formalism (visual):
Principles & Elements
of Design
Front= 2 images of Hathor - protect the
city of the dead –between=
hieroglyphic representation Narmer’s
name/wears crown of Lower Egypt=
(red) / back wears crown of Upper
Egypt = (white)-Narmer carries a club
& whip – inspecting decapitated
enemies / Back = Narmer wears a
ceremonial bull’s tail, sandals off–
indicating holy ground & symbol of
victory-hawk or falcon = symbol of god
Horus- local god of Upper Egypt (also
successful war) papyrus=lower Egypt
= symbolize the number of Narmer’s
captives (6,000)-the small rectangle
symbolizes a fortified town or citadel
Cannon of proportions, law of
frontality, & law of hierarchy =early
example of figure representation used
for 1000s of years / Composition /
stance => one foot is usually place in
front of the other on a ground line /
conventionalized depiction of depthstacked bodies
Conceptual rather than optical
approach- law of frontality, law of
hierarchy, (contrast with naturalistic
activities of servants & birds) /
movement symbolic- repeated lines &
groves- stems, birds, water / powerstatus symbolic – scale, position, stance
Relationship to site =
geography, climate, etc.
Form / Shape– geometric,
organic / open, closed / Mass
/ Volume / Texture- smooth,
rough / Color / Value / Space
– positive, negative
Movement / Gesture /
Balance / Type – freestanding / relief / Orientation /
Stance / Presentation
Proportion / Scale /
Relationship to viewer /
space
Expressive Content:
Commonalities /
Originality ofFigural-anatomical
correctness / facial
expression or Non-objective
elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Other relevant
structures and/or
criteria
Saqqara / isolation-desert
each row contains a different idea of
separate event/ figures stand on
ground line/ law of hierarchy / no
setting (Sumer) /human figure
represented in Egyptian Style
Concerns with nature & provisioning for
the Ka / Symbolic- success in the hunt=
metaphor for triumph over the forces of
evil / subjects = agriculture & hunting /
wealthy families also had interior walls
and ceilings of their tombs decorated
with paintings and reliefs / most
decoration symbolic
Naturalistic & optimistic / action was
only implied / human figures=law of
hierarchy, frontality, & cannon of
proportion / human figures
conventionalized – animal forms more
naturalistic /
Sculptors at Work, pgs 97-99
OLD KINGDOM- EGYPT/ c. 25002400 / from Saqqara, Dynasty V
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
RELIEF
SCULPTURE
ANALYSIS
WORKSHEET
Page 5
(Required)
CRITERIA:
(Artist if Known)
Artistic Time Period /
Date /Orig. Location
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Hypostyle hall, Great Temple,
pgs 114-116
NEW KINGDOM- EGYPT/ c. 25002400 / Karnak
Obelisk, Temple of Amun Mut,
pgs 114-116
NEW KINGDOM- EGYPT/ c. 25002400 / Luxor
Akhenaten & His Family,
pgs 119-121
Amarna – Egypt / c. 1335 BCE /
Dyn.18 / from Tell el-Amarna
Land of stability- agricultural based (Nile)
/ prosperity-trade / hierarchical-stratified /
imperialistic monarch= pharaoh / moved
capital from Thebes to Tell el-Amarna
/Amenhotep IV (changed name to
Akhenaten– ruled for 17 years / radically
transformed the political, spiritual, &
cultural life of Egypt / After death
returned to the old ways, destroyed the
buildings to erase his memory
Monotheistic- Aten-sun god / ties
severed with priesthood / emphasis on
open worship / made many enemies /
stressed philosophical principle of ma’at
Painted limestone relief
Engraved carving – cut into background
(Sunken relief)
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
Art of Akhenaten’s radical reign gives
importance to the pharaoh’s family life
Tomb Decoration / to provide the ka
with the most pleasant living quarters for
eternity
Akhenaten & Family Sacrificing to Aton /
Aton shown as a disk with a series of
radiating lines ending in human hands
that give life & offer protection to the
royal family / Hieratic scale
Formalism (visual):
Principles & Elements
of Design
Belief in afterlife-most art made for tombs
/ Amarna style= curving contours,
undulating lines, change in pose,
effeminate body
Form / Shape– geometric,
organic / open, closed / Mass /
Volume / Texture- smooth,
rough / Color / Value / Space
– positive, negative
Movement / Gesture / Balance
/ Type – free-standing / relief /
Orientation / Stance /
Presentation
Proportion / Scale /
Relationship to viewer / space
Expressive Content:
Commonalities /
Originality ofFigural-anatomical
correctness / facial expression
or Non-objective elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Other relevant
structures and/or
criteria
Amarna style = stresses naturalism over-life-size statues show the distinctive
anatomical traits: high cheekbones, thick
fleshy lips, prominent jaw, pensive gaze,
effeminate breasts, emaciated arms,
heavy hips / some depict Akhenaten
holding a book in a genre pose typical of
his reign / legs are together, chest
sunken, head forward on a narrow neck,
clothed in almost transparent drapery
defined in a detailed linear pattern
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
RELIEF
SCULPTURE
ANALYSIS
WORKSHEET
Page 6
(Required)
CRITERIA:
Frying pan, pgs 131-133
Harvester Vase, pgs134-136
Funerary mask, pgs 148-149
(Artist if Known)
Artistic Time Period /
Date /Orig. Location
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
Cyclades, c. 2500-2200 B.C.E. /
Neolithic & Bronze ages
Aegean- Minoan /c. 1650-1450
BCE / from Hagia Triada, Crete
Economically self-sufficient= agriculture
& herding / also wealthy sea power /
writing- Linear A & Linear B (translated)
practiced fertility rites / worshiped
animals (bull & lions) / no fortification of
Palaces=peaceful / great power
Worshiped animals (bull & lions)
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Steatite, diameter 4 1/2"/ relief
sculpture in stone / orig. gold leaf
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
Ritual object / pouring liquids during
sacred ceremonies
Egg shaped rhyton / small scale /
Subject=sowing & harvesting / celebrate
good harvest / animals (lions-bullssnakes) / nature (trees-mountainsflowers) / sea (seahorse-octopus-shells)
= motif
Formalism (visual):
Principles & Elements
of Design
Composition=upper half (no ground) /
movement (unlike Egyptian)overlapping (not single file) / 4 ½”
diameter
Individually characterized figuresinterest in muscular & skeletal
structure of human body-tension &
relaxation of facial muscles-animation
/ emotion of human face
Form / Shape– geometric,
organic / open, closed / Mass /
Volume / Texture- smooth,
rough / Color / Value / Space
– positive, negative
Movement / Gesture / Balance
/ Type – free-standing / relief /
Orientation / Stance /
Presentation
Proportion / Scale /
Relationship to viewer / space
Expressive Content:
Commonalities /
Originality ofFigural-anatomical
correctness / facial expression
or Non-objective elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Figure= short torso, narrow constricted
waist, long limbs, & sensitive facial
features / human form= stylization,
simplified & reduced forms /
naturalism & stylization combined /
repetition of motif to create pattern
Other relevant
structures and/or
criteria
Vapheio Cups
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
FREE-STANDING
SCULPTURE
ANALYSIS
WORKSHEET
Page 7
(Required)
CRITERIA:
Khafre, pgs 98-106
(Artist if Known)
Artistic Time Period /
Date /Orig. Location
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process /
Terms
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
Formalism (visual):
Principles & Elements
of Design
Form / Shape– geometric,
organic / open, closed / Mass /
Volume / Texture- smooth,
rough / Color / Value / Space –
positive, negative
Movement / Gesture / Balance
/ Type – free-standing / relief /
Orientation / Stance /
Presentation
Proportion / Scale /
Relationship to viewer / space
Expressive Content:
Commonalities /
Originality ofFigural-anatomical correctness
/ facial expression or Nonobjective elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Great Sphinx, pgs 104-106
Menkaure & His Wife,
pgs 104-108
OLD KINGDOM- EGYPT/ Dynastic 4, c.
2575-2525 BCE / original location =
inside temple
Agricultural society, highly stratified,
ruled by deified pharaohs / Believed Ka
or spirit immortal polytheistic /
anthropomorphic gods / pharaoh son of
sun god Ra (falcon) / devote large sums
of money & labor to design,
construction, & decoration of funerary
art / massive effort needed to build
funeral complexes / kept the economy
strong=high demand for goods &
services (towns near complex have
temple to local god, often contain
statues of individuals or pharaoh)
Diorite- durable stone / permanence of
materials / subtractive method, carving /
carved each side (face) of the sculpture
as a relief, carving deeper & deeper
sculptors ended up with a 3-D figure retains block-like quality, height 5' 6
1/8"
Commission stone portraits to
perpetuate the kings memory / Ka
statue =>provided as a substitute in
stone for the kings perishable body (an
alternative home for the spirit to go if the
mummified body deteriorated)
Concept of permanence => figure=
cannon of proportion,
Portrayed enthroned, Horus perches on
the back to protect with his wings, lions=
symbols of regal authority, lotus &
papyrus plants (Upper & Lower Egypt) /
wears traditional costume /
accompanied by small wooden figures
of workers & models of shops to provide
for the pharaoh’s needs
Pose (rigidly upright) =strong sense of
dignity & calm =vertical lines of the legs
and arms / Human form: idealized-well
developed, flawless, strong body, with
perfect face/ canon of proportions
(idealized) => represents royalty (son of
god)/ form= generalized anatomy,
compact, solidity => few projecting,
breakable parts = eternity expressive
pose=> serenity-reflects enduring
power, frontal, rigid-no movement= no
time, bilaterally symmetrical
Stylistic- pharaoh portrayed strong
muscular body, commanding stance &
expression / closed form / frontal /
ridged / cannon of proportion
Law of frontality, law of hierarchy /
conservative society reflected in the
traditional seated & standing pose,
conforming to the rectangular block
shape of stone
Other relevant
structures and/or criteria
Serwosret III
Pepy II & Mother,
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
FREE-STANDING
SCULPTURE
ANALYSIS
WORKSHEET
Page 8
(Required)
CRITERIA:
Seated Scribe, pgs 106-108
Akhenaten, pgs 119-124
Queen Ti, pgs119-121
(Artist if Known)
Artistic Time Period /
Date /Orig. Location
OLD KINGDOM-EGYPT / c. 25002400 BCE / Mastaba tomb, Saqqara
AMARNA PERIOD-EGYPT / c.
1355-1335 BCE / from the Temple
of Amen-Re, Karnak
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
Agricultural society, highly stratified,
ruled by deified pharaohs / massive
effort needed to build funeral complexes
/ great amount of wealth & craft work /
kept the economy strong=high demand
for goods and services (towns near
complex have temple to local god, often
contain statues of individuals or
pharaoh)
Believed Ka or spirit was immortal /
Akhenaten -philosophical principle of
maat – divine truth -Amenhotep IV
(changed name to Akhenaten = One
who Is Effective on Behalf of Aten) –
ruled for 17 years / radically transformed
the political, spiritual, & cultural life of
Egypt / moved capital from Thebes to
Tell el-Amarna (period name Amarna) /
stressed the philosophical principle of
ma at / After death returned to the old
ways, destroyed the buildings to erase
his memory / Evidence => Amarna
letters (cuneiform tablets written in
Akkadian), correspondence from
governors of foreign outposts
Large scale - approx. 13' high /
Sandstone / Sculpture in the round /
subtractive / carving
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process`/
Terms
Painted limestone / Sculpture in the
round / subtractive / carving
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
A conventional depiction of a man of
lower class in a respected position round head & face, large wide-open
eyes, agreeable expression, hair cut
close to the skull
18th Dyn, c 1390-1352 B.C.E.
Small scale- 21”/ composition-intended
to be less formal, sits holding a papyrus
scroll, alert and ready to write / physique
= flabby, not idealized
Depict Akhenaten holding a book in a
genre pose typical / Art of
Akhenaten’s radical reign gives
importance to the pharaoh’s family
life
Pillar statue from the Temple of AmenRe, Karnak
Formalism (visual):
Principles & Elements
of Design
Form / Shape– geometric,
organic / open, closed / Mass /
Volume / Texture- smooth,
rough / Color / Value / Space –
positive, negative
Movement / Gesture / Balance
/ Type – free-standing / relief /
Orientation / Stance /
Presentation
Proportion / Scale /
Relationship to viewer / space
Expressive Content:
Commonalities /
Originality ofFigural-anatomical correctness
/ facial expression or Nonobjective elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Ka figure = Less durable materials
(wood, clay) = not for royal, noble class
/ accompanying are small figures of
workers & models of shops to provide
for the pharaoh’s needs
Founded a new monotheistic religion
honoring a single supreme god –
Aten, sun god (symbolized by disk
with rays ending in human hands,
some hold the ankin= symbol of life)
– severed ties with the priesthood,
made many enemies / emphasized
openness of worship
Worker ready to assist the needs of the
Ka / more naturalistic / less formal
Round head & face / large wide-open
eyes / pleasant expression / close cut
hair / impermanent materials / nonidealized form / open form
Amarna style = stresses naturalism over-life-size statues show the
distinctive anatomical traits: high
cheekbones, thick fleshy lips, prominent
jaw, pensive gaze, effeminate breasts,
emaciated arms, heavy hips reign / legs
are together, chest sunken, head
forward on a narrow neck, clothed in
almost transparent drapery defined in a
detailed linear pattern
Other relevant
structures and/or criteria
Ka Aper
Nefertiti
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
FREE-STANDING
SCULPTURE
ANALYSIS
WORKSHEET
Page 9
(Required)
CRITERIA:
Tutankhamun, pgs 122-123
Harp Player, pgs 129-131
Snake Goddess, pg134
(Artist if Known)
Artistic Time Period /
Date /Orig. Location
Context:
Cultural Belief System
(religion) / Historical –
Social-PoliticalEconomic PatronArchitect (relationship)
Location –Geographical
NEW KINGDOM – c 1360 B.C.E.
Neolithic & early Bronze
CYCLADIC / c. 2500-2200 BCE /
most figures found in tombs / from
Keros
Engaged in agriculture, herding,
manufacturing & trade / seafarers / used
local stone to build fortified towns &
buried dead in stone tombs with
sculpture / no written records / large
supply of white marble
Crete had no temples or monumental
statues of gods, kings, etc. /name from
legend of King Minos (Minotaur) / built
several palaces-Knossos / founded
theocratic government / economically
self-sufficient= agriculture & herding /
also wealthy sea power / writing- Linear
A & Linear B (translated) practiced
fertility rites / worshiped animals (bull &
lions) / no fortification of
Palaces=peaceful / great power
Marble- partly painted / carving Small
scale-height 8 1/2" / open form secularseated musicians / sizes range from few
inches to almost life size / simplified –
stylized forms / geometric essentials /
equality of negative & positive space
Small scale / Minoan woman dress /
example of humans making gods in own
image / combined naturalistic & stylized
elements / faience
Grave goods / exact function unknownprobably religious-supernatural or votive
figures
Religious subjects / may represent
mortal attendants or a deity / may be
fertility image / ritual object
Priestess-run goddess cults / may be
adapted from Near Eastern or Egyptian
institutions
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Building
Techniques / Process`/
Terms
Function / Purpose:
Symbolism /
Iconography
Patron / Audience
MINOAN / c. 1600 BCE / Palace of
Knossos
Formalism (visual):
Principles & Elements
of Design
Symbolic= (lion represent power over
nature), water, regenerative power,
protection of the home
Form / Shape– geometric,
organic / open, closed / Mass /
Volume / Texture- smooth,
rough / Color / Value / Space –
positive, negative
Movement / Gesture / Balance
/ Type – free-standing / relief /
Orientation / Stance /
Presentation
Proportion / Scale /
Relationship to viewer / space
Naturalistic & stylistic elements combine
= create liveliness & power
Expressive Content:
Commonalities /
Originality ofFigural-anatomical correctness
/ facial expression or Nonobjective elements
-Stylistic Characteristics /
Influences / Manner of
expression / Dominant forms,
motifs, symbols
- Narrative
-Artistic training
-Key Concepts
Other relevant
structures and/or criteria
Musician-harpist – expressive pose
Face devoid of features-except nose &
features that characterize subject
AP ART HISTORY
Mrs. Lawson
Chapter 3 & 4 – Comparative
Name:
Due: (BOP)_______________________
Directions: Read pages. Collect data on the structures listed below. Note: Check the beginning of the chapter for historical & cultural information.
Add information from lecture & discussion.
PAINTING
ANALYSIS
WORKSHEET
Page 10
(Required)
CRITERIA:
Artist (If known)
MIDDLE KINGDOM – 12th Dyn., c
1928-1895 B.C.E., Egypt
Judgment before Osiris,
pgs 124-125
NEW KINGDOM-Egypt / c 1285 /
from Book of the Dead /
Subjects expressed major religious
concepts & everyday human existence to
religion
Most subjects originated in Early
Dynastic Period & continued
After Amarna Period – capital moved to
Memphis / restores worship of Amen /
Return to traditional religious beliefs/
change =now believe only person free
from sin could enjoy after-life
Dry fresco- pigment applied to lineplastered wall / paint dries to dull finish
Painted papyrus / scrolls
Function / Purpose:
Symbolism / Iconography
Patron / Audience
Tomb painting – detailed human
existence represented on walls, floors, &
ceilings – to ensure well-being of the
pharaohs & nobles in the after-life &
glorify gods
Commissioned by non-royal classes /
contain magical texts-spells to help dead
survive the test / placed in mummified
wrappings of dead / (created for
Hunefer)
Last Judgment- Osiris & Anubis (Jackal’s
head) / Hearts= soul / Maat (goodness &
truth) = ostrich feather
Formalism (visual):
Multi-perspective for people, poses rigid
Linear & detailed work
Colors bright & intense
Figures outlined in black – filled with color
Animals & plants = more naturalism
Hierarchic scaling used to indicate social
rank of figures
Figures often represented in registers
Conceptual rather than optical approachlaw of frontality, law of hierarchy,
(contrast with naturalistic activities of
servants & birds) / movement symbolic /
power-status symbolic – scale, position,
stance
Art centers around belief in afterlife most
made for tombs / conceptually
naturalistic & optimistic / idealizedcannon of proportion-law of frontality /
law of hierarchy
Naturalistic & optimistic / action was
implied / human figures=law of hierarchy,
frontality, & cannon of proportion /
human figures conventionalized – animal
forms more naturalistic /
Artistic Time Period / Date /
Orig. Location
Context:
Cultural Belief System
(religion) / Historical –SocialPolitical-Economic PatronArchitect (relationship)
Location –Geographical
Harvest Scene, pgs 109-111
Queen Nefertari Making an
Offering to Isis, pgs 122-124
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Techniques /
Terms
Narrative
Pictorial Space-Composition /
Organization-Principles &
Elements of Design
Color / Value / Space – positive,
negative / / figure-ground / depth /
color / movement / line – shape /
balance / unity / view point /
proportion- size/scale
Movement / Gesture / Balance
Expressive Content:
Commonalities / Originality
of-
Scenes- deceased making religious
offerings, funeral banquets, boat journeys
to Netherworld, deceased introduced to
the after-life by gods, genre scenes
Figural -anatomical correctness /
facial expression
Non-objective – elements
-Stylistic Characteristics /
Influences
-Manner of expression
-Dominant forms, motifs, symbols
-Narrative
-Artistic training
-Key Concepts
Other relevant structures
and/or criteria
Wall Painting
AP ART HISTORY
Chapter 3 & 4 – Comparative
Mrs. Lawson
Due: (BOP)_______________________
Name:
PAINTING
ANALYSIS
WORKSHEET
Page 11
(Required)
CRITERIA:
Artist (If known)
Artistic Time Period / Date /
Orig. Location
Context:
Cultural Belief System
(religion) / Historical –SocialPolitical-Economic PatronArchitect (relationship)
Location –Geographical
Relationship to site =
geography, climate, etc.
Medium / Technique:
Materials /
Construction / Techniques /
Terms
Narrative
Function / Purpose:
Symbolism / Iconography
Patron / Audience
Formalism (visual):
Pictorial Space-Composition /
Organization-Principles &
Elements of Design
Color / Value / Space – positive,
negative / / figure-ground / depth /
color / movement / line – shape /
balance / unity / view point /
proportion- size/scale
Movement / Gesture / Balance
Expressive Content:
Commonalities / Originality
of-
Kamares Ware, pg 139
Aegean (Minoan) / c. 20001900 BCE / from Phaistos,
Crete
Bull Jumping (Toreador), pgs 139142
Aegean (Late Minoan) / C 1500 1450 BCE / from New Palace Period
Worshiped animals (bull & lions) /
nature
Little known = Polychromatic
style=white & red decoration
against black background (feature
of Kamares Ware)
Pottery tradition began before
New Palace Period / used the
newly introduced potters wheel /
new types of clay/ named for the
mountain where first discovered
/large scale production in palace
workshops
Worshiped animals (bull & lions) / Naturelittle known
Palaces-Knossos / founded theocratic
government / economically self-sufficient=
agriculture & herding / also wealthy sea
power / writing- Linear A & Linear B
(translated) practiced fertility rites /
worshiped animals (bull & lions) / no
fortification of Palaces=peaceful / great
power
Decorates Palace of Knossos wall /
depicted Minoan life / bull leaping
ceremony / (also celebration of nature
scenes)
Ceramic, height 10 5/8"/ potter’s
wheel Rounded contours filled
with bold-curving forms /
decoration fills the space /
conforms to shape of the vessel
Lime plaster & paint / wet (true) fresco wall
painting
Large scale / palace wall / colors=red,
yellow, black, white, green & blue / outline
figures & objects / un-shaded areas of color
/ bright colors alternating with neutral color
= shadows
Holding liquid
Decoration derived from plants &
animals
Delicacy / use of color /
energetically stylized-painted
decoration
Energetically stylized painted
decoration (sea motif) /decoration
integrated with the shape of the
vessel
Figural -anatomical correctness /
facial expression
Non-objective – elements
-Stylistic Characteristics /
Influences
-Manner of expression
-Dominant forms, motifs, symbols
-Narrative
-Artistic training
-Key Concepts
Geometric borders / views of nature /
scenes of human activity-ritual
Landscapes & ritual events / bright colors /
stylized –natural forms / patterns based on
nature
Movement-action /conventionalized
format=woman fair-skinned, man dark skin
/ stylized shapes-pinched waist, profile,
frontal eye, hair style / elasticity of line
suggests living (movement) thing
Other relevant structures
and/or criteria
Octopus Jar
Priestess, detail of wall painting
Landscape (Spring Fresco),
pgs 132-142