AR 227 History of Art Course Outline PDF

AR 227 History of Art Welcome Contact Info: AR 227 History of Art Mr. Joseph A Digangi, MFA, SAA [email protected] Of ce Hour, T - 11-11:50a, R - 3-3:50p Of ce: VPA 208, ex 3339 fi fi AR 227 History of Art Coming up Today: Intro, Francis Schaeffer Audio, Philosophy lecture Friday, August 30, Continue the Philosophy lecture, Francis Schaeffer Audio due Monday, September 2, 11:59p. Monday, September 2, Continue the Philosophy lecture, Francis Schaeffer Audio due Monday, September 2, 11:59p. Wednesday, September 4, Philosophy quiz, Early Visual Art Friday, September 6, Early Visual Art Monday, September 9, Quiz, Janson Chapter 1, Early Visual Art AR 227 History of Art Welcome PCC Philosophy of Education The Christian-traditional philosophy is in contrast to humanistic, progressive systems of education.. AR 227 History of Art Welcome PCC Philosophy of Education Christian-traditional education is rooted in objective reality and absolutes, as opposed to relativism(the doctrine that knowledge, truth, and morality exist in relation to culture, society, or historical context, and are not absolute). AR 227 History of Art Welcome The only way to recognize a lie is to know the truth. We must see the truth so that when a counterfeit comes along, we immediately recognize its lack of authenticity. AR 227 History of Art Welcome When training to become a bank teller, one is taught how to recognize counterfeit money. However, the instructors do not teach what counterfeit bills look like. Rather, they teach what genuine money looks like. They study markings, the coloring, and the feel of real money so that when the counterfeit comes along, the teller can recognize it. D. L. Moody once said, “The best way to show that a stick is crooked is not to argue about it or to spend time denouncing it, but to lay a straight stick alongside it.” AR 227 History of Art Welcome Course Requirements 4 Unit tests(online) 72+ points (only the last test is cumulative)(34%) 8 Quizzes 10+ points(33%) 1 research paper 50 pts(33%) Meet attendance requirements AR 227 History of Art Introduction This curriculum is designed to communicate a Biblical, historical, and scholarly perspective of visual art in the areas of Philosophy, History, and the Classical Ideals. AR 227 History of Art Introduction This curriculum is designed to communicate a Biblical, historical, and scholarly perspective of visual art in the areas of Philosophy, History, and the Classical Ideals. All three areas collaborate in understanding each artifact's role in the history of visual art. AR 227 History of Art Introduction The curriculum desires to be a voice communicating God’s blue print for creativity as demonstrated in creation. AR 227 History of Art Introduction The orderly plan and use of the “Classical Ideals” which encompasses the Elements and Principles of Visual Art and Design created and authored by God are clearly communicated in the creation of the universe. AR 227 History of Art Introduction Natural Revelation provides an example for man to observe and follow. It will be emphasized and noted throughout the course. The heavens declare the glory of God; and the rmament sheweth his handywork. Psalm 19:1 fi AR 227 History of Art Coming up Friday, August 30, Continue the Philosophy lecture, Francis Schaeffer Audio due Monday, September 2, 11:59p. Monday, September 2, Continue the Philosophy lecture, Francis Schaeffer Audio due Monday, September 2, 11:59p. Wednesday, September 4, Philosophy quiz, Early Visual Art Friday, September 6, Early Visual Art Monday, September 9, Quiz, Janson Chapter 1, Early Visual Art AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art Art is the organized visual expression of ideas or feelings. fi AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art Art is the organized visual expression of ideas or feelings. The word “art” includes all visual art not just what we call “ ne art” (painting, sculpture, architecture, drawing, and pottery). fi fi AR 227 History of Art Visual Art? AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art Art is the organized visual expression of ideas or feelings. “To design is to plan and to organize, to order, to relate and to control. In short it embraces all means of opposing disorder and accident. Therefore it signi es a human need and quali es man’s thinking and doing.” Josef Albers fi fi fi AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art Art is the organized visual expression of ideas or feelings. Primarily involves sight related rather than performance or literary related works. fi AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art Art is the organized visual expression of ideas or feelings. All visual art communicates a message. fi AR 227 History of Art Introduction, PCC Visual Art Department de nition of Art The Biblical Philosophy of Art By Reformed Inquisitor The secularists cannot de ne art because they seek to change what art is supposed to be. The so-called “artist”, Picasso said, “Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon (or rule).” fi fi AR 227 History of Art Introduction, Unbiblical view of visual art The Biblical Philosophy of Art By Reformed Inquisitor Picasso had an antinomian (anti-law) world-view, and thus, did not like to conform his work and art to God’s Law;(Classical Ideals) he believed that man is the de ner of right and wrong. Picasso often referred to the brain, or what he thinks, to be the nal authority for his actions instead of the Scriptures. fi fi AR 227 History of Art Introduction, Biblical visual art The Biblical Philosophy of Art By Reformed Inquisitor In opposition to the secularists’ de nitions, visual art, as we Christians ought to de ne it, is a tool by which we may re ect upon God’s creation and attributes through images. “All things were created by Him and for Him,” (1 cor. 10:31)..... including art. fl fi fi AR 227 History of Art Introduction, Biblical visual art The Biblical Philosophy of Art By Reformed Inquisitor The Goal of Art and Design Without an eternal goal—i.e., a goal that is Christ-ward, for His Kingdom, the conversion of sinners, and the edi cation of the saints —art is useless. How can we accomplish this? fi AR 227 History of Art Introduction, Biblical visual art By understanding and implementing in our own creations the Elements and Principles of visual art and design (Classical Ideals) originating and observed in creation. AR 227 History of Art Introduction, Beauty What is the de nition of Beauty? fi AR 227 History of Art Introduction, Beauty Some have said, “Beauty is in the eyes of the beholder”. AR 227 History of Art Introduction, Beauty That statement de nes the human condition and man’s individuality. fi AR 227 History of Art Introduction, Beauty I de ne Beauty with one word. fi AR 227 History of Art Introduction, Beauty “Peace” AR 227 History of Art Introduction, Beauty For a child will be born to us, a son will be given to us; and the government will rest on His shoulders; and His name will be called Wonderful Counselor, Mighty God, Eternal Father, Prince of Peace. Isaiah 9:6-7 One thing have I desired of the Lord, that will I seek after; that I may dwell in the house of the Lord all the days of my life, to behold the beauty of the Lord, and to enquire in his temple. Psalm 27:4 AR 227 History of Art Introduction, Beauty z Moraine Lake, Valley of ten peaks, Banff National Park All things were made by him; and without him was not any thing made that was made. John 1:3 AR 227 History of Art Introduction, Beauty "High Sierra" refers to the High Sierra region in California AR 227 History of Art Introduction Our personal preferences should not be part of the criteria process. This would also include the personal life or life style of the artist. AR 227 History of Art Introduction We will let the Lord be the judge of life style unless it has a positive impact on the art work created. AR 227 History of Art Introduction In the area of religious art, idols are studied for their historic, artistic and technical merit. AR 227 History of Art Introduction, Biblosophy of Visual Art "Philosophy"..............? AR 227 History of Art Introduction, Biblosophy of Visual Art Quite literally, the term "Philosophy" means, "love of wisdom." http://philosophy.fsu.edu/content/view/full/36588 AR 227 History of Art Introduction, Biblosophy of Visual Art Biblosophy (Bible-wisdom) AR 227 History of Art Introduction, Biblosophy of Visual Art Biblosophy of Visual Art AR 227 History of Art Coming up Monday, September 2, Continue the Philosophy lecture, Francis Schaeffer Audio due Monday, September 2, 11:59p. Wednesday, September 4, Philosophy Quiz1, Early Visual Art Friday, September 6, Early Visual Art Monday, September 9, Quiz, Janson Chapter 1, Early Visual Art AR 227 History of Art Introduction, Biblosophy of Visual Art no ati nic y vit mu on ati ntt m leien n Cre Ca Co CCli AR 227 History of Art Introduction, Biblosophy of Visual Art Canon(Bible) a rule, a standard of faith and practice on n Ca AR 227 History of Art Introduction, Biblosophy of Visual Art Canon(Bible) I Corinthians 10:31 Whether therefore ye eat, or drink, or whatsoever ye do, do all to the glory of God. on n Ca AR 227 History of Art Introduction, Biblosophy of Visual Art Canon(Bible) Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things. on Philippians 4:8 n Ca Because everything we think, do, and say should be tried and tested by the Word of God. AR 227 History of Art Introduction, Biblosophy of Visual Art Canon(Bible) It is absolute truth and authority regarding art. 16 All scripture is given by inspiration of God, and is pro table for doctrine, for reproof, for correction, for instruction in righteousness: 17 That the man of God may be perfect, on thoroughly furnished unto all good works. n Ca 2 Timothy 3:16-17 fi AR 227 History of Art Introduction, Biblosophy of Visual Art Communication We communicate with our lives the on blessed hope that is within us. ati Mine eye affecteth mine heart... nic Lamentations 3:51 (personal) mmu Co AR 227 History of Art Introduction, Biblosophy of Visual Art Communication Let no corrupt communication....... on Ephesians 4:29 ati God is not the author of confusion. nic 1 Cor. 14:31-33 mmu Co AR 227 History of Art Introduction, Biblosophy of Visual Art Communication Art has a moral aim. on Art is a ministry. ati Protestants who were the dominant religious nic group, perceived themselves as bearers of a God-given responsibility for the moral and mu religious character of American life. m Eyes Wide Open, William D. Romanowski, Co Brazos Press, Grand Rapids, Michigan, 3rd printing, 2007, page 29 AR 227 History of Art Introduction, Biblosophy of Visual Art Communication on The thing about writing and directing a lm(or any creative activity) is that you are ati presenting a (world)view of the universe. nic Each time, every scene, every line. Every time you put the camera down you are saying mu here’s a version of the universe as I perceive it. And that is being tested by everyone who sees that movie(art). m Co Lawrence Kasdan, Filmmaker fi AR 227 History of Art Introduction, Biblosophy of Visual Art The Client You or someone else (Example:Lamar Advertising). 19 What? know ye not that your body is the temple of the Holy Ghost which is in you, which ye have of God, and ye are not your own? 20 For ye are bought with a price: therefore glorify God in your body, and in your spirit, which are God’s. t ennt 1 Corinthians 6:19-20 ei 23 Ye are bought with a price; be not ye the servants of men. CClli 1 Cor. 7: 23. AR 227 History of Art Introduction, Biblosophy Creativity Also, our business and God-given attributes. All humans can be it y creative, not just the v artist. ati This is not a license to go against the Bible, Cre societal norms, or laws. AR 227 History of Art Introduction The vast majority of art created by man does not seek to honor and glorify the GOD of the Bible. AR 227 History of Art Introduction Biblical criteria for Visual Art 1. Mastery in artists chosen medium, original, and creative 2. Must comply with the Biblical Worldview AR 227 History of Art Dr. Francis Schaeffer Criteria for art Technical Message Themes: Major and Minor AR 227 History of Art Dr. Francis Schaeffer Criteria for art Technical: Intrinsically neutral AR 227 History of Art Dr. Francis Schaeffer Criteria for art Technical: Intrinsically neutral. Subjects such as composition, color theory, knowledge of anatomy, proportion or sighting, draftsmanship, design elements, and principles, etc. are all neutral. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Technical: Intrinsically neutral. Man can not be morally judged(in other words, lose his salvation) for the misuse of the technical subjects in art. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Technical: Intrinsically neutral. The question that needs to be asked is, “Has the artist’s work exhibited a mastery of his chosen medium?” AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview All visual art communicates a message to the viewer via the subject matter and technique(not technical). AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview This message demonstrates a particular worldview. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview The question is, “Which worldview does the artist’s work re ect”? fl AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview It may exhibit a biblical worldview where God is in the center. This type of art would cause the viewer to acknowledge the greatness of GOD. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview On the other hand, it may exhibit an unbiblical world view where man is in the center. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Message: worldview This type of visual art does not acknowledge GOD and tries to draw attention to itself or the artist who created it. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Theme: Which worldview does the most signi cant amount of artists’ work represent? fi AR 227 History of Art Dr. Francis Schaeffer Criteria for art Major theme: positive, biblical worldview AR 227 History of Art Coming up Monday, September 4, Continue the Philosophy lecture Wednesday, September 6, Philosophy quiz Friday, September 8, Early Visual Art AR 227 History of Art Dr. Francis Schaeffer Criteria for art Major theme: positive, biblical worldview Major Theme communicates the fact that there is meaningfulness and purposefulness of life. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Major theme: positive, biblical worldview There is hope because of salvation in Jesus Christ. Jesus is coming again. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Major theme: positive, biblical worldview It is a theme that projects a positive outlook. It also speaks to the fact of victory over sin and death. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical Communicates the fact that there is meaninglessness and purposelessness of life. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Major theme: positive, biblical worldview There is eternity with God to look forward to, where everything is going to be made right. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical There is no hope. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical It is a theme that projects a negative outlook or perspective. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical It says that God is dead, and we are not accountable for our behavior or sins. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical There is no victory over sin and death. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical Live it up now; get all you can. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: negative, unbiblical It projects man’s inhumanity to man. AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: example Alan Lathwell AR 227 History of Art Dr. Francis Schaeffer Criteria for art Minor theme: Alan Lathwell AR 227 History of Art Dr. Francis Schaeffer Criteria for art Demon Skull, Alan Lathwell AR 227 History of Art Dr. Francis Schaeffer Criteria for art Death Scream, Alan Lathwell AR 227 History of Art Dr. Francis Schaeffer Criteria for art “I was fascinated by mythology and fantasy right from the start and was always drawing when I was young, but I never considered illustration as a career. Instead, when I left school I worked as an engineer for a few years before deciding that I wanted to do something else with my life. Considering my options and where my passion really lay I began taking art seriously and would practice as much as I could in my spare time. Eventually I put together a portfolio and joined an illustration agency specialising in children’s books and greetings cards. It was only when I uploaded my fantasy work online that I began getting the commissions I wanted and could start doing what I love full-time. AR 227 History of Art Dr. Francis Schaeffer Criteria for art “I’ve always been drawn to the mythic realm, I try to draw from what psychologists call the collective unconscious, the symbolism that is inherited from our ancient ancestors, the best example of which is the hero ght with the primordial dragon found in the mythology of almost every culture. The Gods, heroes, and monsters in those ancient stories are representations of something very deep within us and I try to explore that realm to get inspiration”. fi AR 227 History of Art Dr. Francis Schaeffer Criteria for art AR 227 History of Art Antediluvian, pre- ood era fl AR 227 History of Art Antediluvian, pre- ood era The Bible says that; Abel sacri ced a yearling of his ock, which shows domestication. Cain brought fruit of the ground which shows agriculture. We also know something about the culture by way of; Genesis 4:17 city, 4:20 tents, cattle, 4:21 harp, pipe organ (music), 4:22 Tubalcain an instructor of every artifact in brass and iron, which shows knowledge of foundry work. fi fl fl AR 227 History of Art Antediluvian Culture, pre- ood era The Bible also says that; Noah cut wood and built an ark. This shows metal tools, mathematics, measurement cubit=18 inches, and no known remains of artifacts from before the ood. Nothing escapes God’s judgment. No known artifacts survive the ood except the ark and its contents. fl fl fl AR 227 History of Art Post-diluvian Culture, (era after the ood) Shem, Ham, and Japheth. The three sons of Noah spread over the globe in the following manner: Shem stayed in the area, including Israelites, Arabians, and Babylonians. Shem or Semites are a people given to the realm of the (Spiritual), Jewish, and Islamic. fl AR 227 History of Art Post-diluvian Culture, (era after the ood) (era after the ood) Ham descendants include Egyptians, Canaanites, Sumerians, and Mongoloids. Ham or Hamitic people are technologically oriented experts (practical end). fl fl AR 227 History of Art Post-diluvian Culture, (era after the ood) Japheth moved to all of the northern Mediterranean areas, including the British Isles, Scandinavia, and Russia. fl AR 227 History of Art Post-diluvian Culture, (era after the ood) Japheth or Japhethites or Indo-Europeans are a people given to the realm of Philosophy (or thought). Where Japheth has applied his philosophical genius to the technical genius of Ham, Science (intellectual satisfaction) has emerged. Where Japheth has applied his philosophical genius to the spiritual insights of Shem theology has emerged. fl AR 227 History of Art Post-diluvian Culture, (era after the ood) The whole panorama of history is viewed from an unusual, but highly intriguing, perspective based on the genealogy of Noah's sons (Gen.10) and on the pithy statement made by Noah (Gen. 9: 24-27): Cursed be Canaan; A servant of servants shall he be unto his brethren. Blessed be the LORD God of Shem, And Canaan shall be his servant. God shall enlarge Japheth, And he shall dwell in the tents of Shem, And Canaan shall be his servant Noah's Three Sons, Dr. Arthur Custance, (Volume 1 of Zondervan 1975 edition of the Doorway Paper Series) fl AR 227 History of Art Post-diluvian Culture, (era after the ood) Ham was scattered far and wide at a very early time in history, reaching the most distant parts of the habitable world far in advance of Shem or Japheth. The Hamites became the world's foremost technologists. Later in history, when the way had already been opened up, Japheth spread slowly into many of these areas where, becoming heirs to the solutions of their predecessors the Hamites, they had leisure enough to spend more time in re ection and in due course developed their philosophies. Ham excelled in "know-how"; Japheth began to ask "why?" fl fl AR 227 History of Art Post-diluvian Culture, (era after the ood) The whole person, culture, and country 1. spiritual, religion 2. physical, bodily needs, technology 3. intellectual, philosophical, and physical. All three are required. In a remarkable way God has taken care to see that these three facets are each properly nourished and preserved so that the effects of the Fall may be always held in check and man never allowed to completely destroy himself while God has yet some purpose to work out and while history pursues its course. fl AR 227 History of Art Post-diluvian Culture, (era after the ood) Postdiluvian, post ood era fl fl AR 227 History of Art Aurignacian Period Many types of animals Painted on top of each other Monochromatic Outlined and show depth AR 227 History of Art Aurignacian Period, Pech-Merle cave, Cabrerets, France AR 227 History of Art Aurignacian Period, Pech-Merle cave, Cabrerets, France AR 227 History of Art Coming up Friday, September 8, Early Visual Art Monday, September 11, Quiz, Janson Chapter 1, Early Visual Art AR 227 History of Art Aurignacian Period, Period Pech-Merle cave, Cabrerets, France Diagram of image locations 5. Handprints 11. Black frieze; Mammouth, aurochs, bison, and horse AR 227 History of Art Aurignacian Period, Period Pech-Merle cave, Cabrerets, France Hand Prints AR 227 History of Art Aurignacian Period, Period Pech-Merle cave, Cabrerets, France Location 5; painted horses AR 227 History of Art Aurignacian Period, Period Pech-Merle cave, Cabrerets, France Location 5; hand stencils around the famous "Dappled Horses” AR 227 History of Art Aurignacian Period, Period Pech-Merle cave, Cabrerets, France Location 11; Black frieze; Mammouth, aurochs, bison, and horse AR 227 History of Art Aurignacian Period Magico-religious motives 1. created to exert power over it subject which would result in a successful hunt. 2. Hoped to stimulate fertility in the wild ensuring a continuous food supply (pages 24-25). AR 227 History of Art Aurignacian Period Irish local media said the remains were more than a 10,500 years old and although it’s called the great Irish elk, the species roamed all over Europe and Russia. The last of the species died around 11,000 years ago, said a paper by the University of California Berkeley Museum of Paleontology. They added the relic was technically a deer rather than an elk, but was the largest deer species ever recorded. It stood up to 2.1 metres at the shoulders with antlers spanning up to 3.65 metres. AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Imagine you, three of your friends and your trusty dog take a hike in the woods. As you are walking, you stumble upon a strange looking rock that is small in diameter and is quite dark in the middle. As you slowly work your way toward this rock, one of you notices that the rock is not even a rock at all, it's a cave! This actually did happen to four boys named Marcel, George, Jim, and Simon. Simon was the one with the dog. The dog's name was Robot. It all happened on September 12, 1940 (Baumann, 1962). AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Simon, the one with the dog. The dog's name was Robot. AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Location of Lascaux Cave, Dordogne, France AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Location of Lascaux Cave opening , Dordogne, France AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Diagram of Lascaux Cave paintings “Hall of the Bulls” AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France “Ibex” Cave Painting from Lascaux in the region of Dordogne, France. Aurignacian Period AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France "Hall of the Bulls" cave Painting from Lascaux in the region of Dordogne, France. About six hundred images in all. AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France "Hall of the Bulls" AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Lascaux Cave: A close-up section of the "Hall of the Bulls". AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Mixed animals AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Cave painting of a Dun horse at Lascaux. AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Dun horse AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France A cave painting in Lascaux, near Montignac, France, depicts a bull and a V-11 horse. AR 227 History of Art Aurignacian Period, Period Lascaux Cave, Dordogne, France Lascaux: The Axial Gallery: Falling Cow V-12 AR 227 History of Art Aurignacian Period, Lascaux Cave, Dordogne, France Magdalenian Period Cave at Altamira, Spain Polychromatic More advanced compositions Mainly bulls, oxen, Used natural rock formation to create 3D effect, AR 227 History of Art Magdalenian period paintings at Altamira. Maria explored the huge chamber. Then something Marcelino and Maria Sanz de Sautuola discover the overhead caught her eye. She screamed, “Toros! Toro Magdalenian period paintings at Altamira. (“Bulls! Bulls!) What she saw on the ceiling were extraordinary animal paintings. AR 227 History of Art Magdalenian period paintings at Altamira, Spain “Crouching Bison,” painted on hump or bump on ceiling surface. AR 227 History of Art Magdalenian period paintings at Altamira, Spain “The attention to the form of the bison stands out in the paintings at Altamira, Spain AR 227 History of Art Magdalenian period paintings at Altamira, Spain “The Crouching bison painting demonstrates advanced composition and pose. AR 227 History of Art Magdalenian period paintings at Altamira, Spain Cave of Altamira, also known as the Sistine Chapel of cave painting. AR 227 History of Art Magdalenian period paintings at Altamira, Spain Mostly bison paintings AR 227 History of Art Magdalenian period, Tuc d’Audoubert Cave AR 227 History of Art Magdalenian period, Tuc d’Audoubert Cave Magdalenian Period Clay bison from the cave of Tuc d'Audobert, Haute Pyrénées, France AR 227 History of Art Magdalenian period, Tuc d’Audoubert Cave AR 227 History of Art Magdalenian period, Tuc d’Audoubert Cave Foot prints from the cave of Tuc d'Audobert, Haute Pyrénées, France AR 227 History of Art Coming up Friday, September 6, Early Visual Art Monday, September 9, Quiz, Janson Chapter 1, Early Visual Art Janson Chapter 2, Ancient Near East Wednesday, September 11, Janson Chapter 2, Ancient Near East Friday, September 13, Ancient Near East AR 227 History of Art Ancient Near East Sumer/Ur, Babylon, Israel AR 227 History of Art Ancient Near East, Sumer(Ur), Babylon, Israel AR 227 History of Art Ancient Near East, Sumer(Ur), Babylon, Israel The green area is known as the “fertile crescent.” Created by Tigris and Euphrates rivers. AR 227 History of Art Ancient Near East, Sumer(Ur), 1. city-state 2. writing-cuneiform, 3. religion-(God- god)/man relationship AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Building material sun-dried and red mud brick. Note: mold. fi AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Sun-dried brick AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Excavation of Ur complex surrounding Great Ziggurat in the distance. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Ziggurat( to build a raised area) at Ur and temple on its top were built around 2100 B.C.E. by king Ur- Nammu for the moon goddess Nanna, the divine patron of the city state. In the 1920s Sir Leonard Woolley, revealed the monument in its entirety. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Dimensions; 210 by 150 feet, constructed with three levels of terraces, originally between 70 and 100 feet high. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Outer faces are of baked brick and bituman for mortar, are inclined to a pronounced batter and have regularly spaced, at buttresses. These outer faces encase the solid core of mud bricks. fl AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat arch Tower Access to the ziggurat was through three 100 step stairs converging ramps from where a central stairway continued to the second stage. The shape of the staircase leading to the third stage is unclear. Central stairway, one of three, 100 steps in each. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower A fragmented understanding of Symmetry was used in the design of the Great Ziggurat Tower. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower These staircases would carried religious processions to the summit of the structure, pageantry which was surely the inspiration for the story of Jacob's Ladder. AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower Top view of Great Ziggurat Ur and “Place of Judgement” AR 227 History of Art Coming up Monday, September 9, Quiz, Janson Chapter 1, Early Visual Art Janson Chapter 2, Ancient Near East Wednesday, September 11, Janson Chapter 2, Ancient Near East Friday, September 13, Ancient Near East Monday, September 16, Quiz, Janson Chapter 2, Ancient Near East AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower The Arch AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower/ Arch Ur is credited with being the rst to create arched doorways. This may well be the oldest arch in the world. fi AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower/ Arch The Corbel Arch AR 227 History of Art Ancient Near East, Sumer(Ur), Great Ziggurat Tower/ Arch A corbel arch is an arch-like construction method that uses the architectural technique of corbeling to span a space or void in a structure, such as an entranceway in a wall or as the span of a bridge. AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer / War Lapis Lazuli- Blue stone, tar, mother of pearl(shell) AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer / Peace Lapis Lazuli-Blue stone, tar, mother of pearl(shell) AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer / Peace Event goer, entertainers, bullhead harp. AR 227 History of Art Ancient Near East, Sumer(Ur), Standard of Ur/Sumer / Peace pro le head, frontal eye, frontal shoulders, pro le feet fi fi AR 227 History of Art Ancient Near East Royal Harp or Lyre AR 227 History of Art Ancient Near East, Bull-headed Harp or Lyre from Royal cemetery at Ur Material and technique; wood, gold leaf, or gilded gold Lapis Lazuli-Blue, wood AR 227 History of Art Ancient Near East, Bull-Headed Lyre from Royal cemetery at Ur / Front panel Mesopotamian funerary rituals. The designs are made of shell inlay on bitumen. Panel 1 shows a man wrestling two bulls with human heads. Panel 2 shows a hyena serving meat and a lion bearing a jar. Panel 3 shows an equine animal playing with a bull-shaped lyre while a bear supports the lyre and another animal holds a rattle. Panel 4 shows a scorpion man who guards the underworld, greeting a man. AR 227 History of Art Ancient Near East, Ram in the Thicket AR 227 History of Art Ancient Near East, Ram in the Thicket gold leaf or gilded gold used, Lapis Lazuli-Blue, wood AR 227 History of Art Ancient Near East, Cuneiform writing AR 227 History of Art Ancient Near East, Cuneiform writing AR 227 History of Art Ancient Near East, Cuneiform writing Cuneiform alphabet AR 227 History of Art Ancient Near East, Cuneiform writing Note marks in the wet clay. AR 227 History of Art Ancient Near East, Cuneiform writing / Code of Hammurabi Babylonian law code, 1772 BC. One of the oldest deciphered writings of signi cant length in the world. The Louvre 7' 5" x 1' 10" Media: Diorite, Hammurabi(left), Shamash(right) fi AR 227 History of Art Coming up Friday, September 8, Early Visual Art Monday, September 11, Quiz, Janson Chapter 1, Early Visual Art Janson Chapter 2, Ancient Near East Wednesday, September 13, Janson Chapter 2, Ancient Near East Friday, September 15, Ancient Near East Monday, September 18, Quiz Ancient Near East, Janson Chapter 2, Egypt, Janson Chapter 3 AR 227 History of Art Ancient Near East, Cuneiform writing / The Royal Game of Ur The Royal Game of Ur The board is very well decorated, alongside with the several pieces needed to play the game. The rules of this game have been found on a clay tablet dating from 177BC. This clay tablet is the oldest known set of game rules in the world, and is on display in the British Museum, alongside the game board itself. AR 227 History of Art Ancient Near East, Cuneiform writing / The Royal Game of Ur AR 227 History of Art Ancient Near East, Hebrew the oldest Alphabet English alphabet closely matches Ancient Hebrew. AR 227 History of Art Ancient Near East, Ancient Hebrew Alphabet-Aleph AR 227 History of Art Ancient Near East, Hebrew the oldest Alphabet Alphabet soup A new description of Hebrew as the world’s oldest alphabet includes these proposed early Hebrew letters (middle), with corresponding modern Hebrew letters (left) and Egyptian hieroglyphic sources for letters (right). AR 227 History of Art Ancient Near East, Hebrew the oldest Alphabet According to Dr. Douglas Petrovich, this inscription supports the early date of 1446 BCE for the Exodus from Egypt and Hebrew as the rst alphabet. fi AR 227 History of Art Ancient Near East, Babylon AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate Model of the double gate structure with blue glazed brick and red or un red brick for the city walls. fi fi AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate The cuneiform inscription of the Ishtar Gate in the Pergamon Museum in Berlin "I (Nebuchadnezzar) laid the foundation of the gates down to the ground water level and had them built out of pure blue stone. Upon the walls in the inner room of the gate are bulls and dragons and thus I magni cently adorned them with luxurious splendour for all mankind to behold in awe." fi AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate City of Babylon and Ishtar Gate AR 227 History of Art Ancient Near East, Babylon, City walls of Babylon Walls of the City of Babylon; The general character of the construction is open to but little doubt. The wall was made of bricks, either baked in kilns or (more probably) dried in the sun, and laid in a cement of bitumen, with occasional layers of reeds between the courses. AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate and Processional way The Ishtar Gate Ishta r Processional Way Gate AR 227 History of Art Ancient Near East, Babylon, Processional way Procession Wall with Lion Relief, associated with Ishtar. AR 227 History of Art Ancient Near East, Babylon, Processional way (Detail) Procession Wall with Lion Relief, associated with Ishtar. AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate Ishtar Gate, excavated 1902 - 1914, 45 feet of the original foundation of the gate was discovered by Robert Koldewey. Current location, Pergamon Museum in Berlin, Germany AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate Ishtar Gate The front of the gate is adorned with glazed bricks with alternating rows of dragons and bulls. Note symmetry and top design AR 227 History of Art Ancient Near East, Babylon, Ishtar Gate The Ishtar Gate is dedicated to the Babylonian goddess Ishtar. These animals are symbolic representations of certain deities: lions (Ishtar), goddess of fertility, love, war, and sex, bulls (Adad), was a weather god and dragons (Marduk), chief or god of Babylon. AR 227 History of Art Ancient Near East, Babylon, Striding Dragon of Marduk Sculpted or molded brick with glaze. AR 227 History of Art Ancient Near East, Babylon, Striding Dragon of Marduk The dragon with its scaly body of a dragon, head of a snake, hind feet claws of a large bird of prey, front paws of a lion and the tail of a deadly scorpion. AR 227 History of Art Ancient Near East, Babylon, Processional way Auroch(Adad) is an extinct large wild cattle that inhabited Europe, Asia and North Africa and is the ancestor of domestic cattle. AR 227 History of Art Ancient Near East, Babylon, Adad Young bulls are associated with Adad, a weather god in the Babylonian pantheon. Adad had a twofold aspect, being both the giver and the destroyer of life. Read more: AR 227 History of Art Ancient Near East, Babylon, Adad His rains caused the land to bear grain and other food for his friends, and his storms and hurricanes, evidence of his anger against his foes, brought darkness, want, and death. Adad was typically represented brandishing lightning bolts and standing on or beside a bull. AR 227 History of Art Ancient Near East, Israel, Solomon’s Temple AR 227 History of Art Ancient Near East, Israel, Solomon’s Temple AR 227 History of Art Ancient Near East, Israel, Solomon’s Temple The building of Solomon’s temple; 1 Kings 6:7 And the house, when it was in building, was built of stone made ready before it was brought thither: so that there was neither hammer nor axe nor any tool of iron heard in the house, while it was in building. Note symmetry AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant Cherubim Mercy Seat Ark AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant Exodus 35:30-35 30 And Moses said unto the children of Israel, See, the Lord hath called by name Bezaleel the son of Uri, the son of Hur, of the tribe of Judah; 31 And he hath lled him with the spirit of God, in wisdom, in understanding, and in knowledge, and in all manner of workmanship; 32 And to devise curious works, to work in gold, and in silver, and in brass, fi AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant Exodus 35:30-35 33 And in the cutting of stones, to set them, and in carving of wood, to make any manner of cunning work. 34 And he hath put in his heart that he may teach, both he, and Aholiab, the son of Ahisamach, of the tribe of Dan. 35 Them hath he lled with wisdom of heart, to work all manner of work, of the engraver, and of the cunning workman, and of the embroiderer, in blue, and in purple, in scarlet, and in ne linen, and of the weaver, even of them that do any work, and of those that devise cunning work. fi fi AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant The construction of the Ark is commanded by God to Moses while the Jews were still camped at Sinai (Ex. 25:10-22; 37:1-9). The Ark was a box with the dimensions of two-and-a-half cubits in length, by one-and-a-half cubits in heights, by one-and-a-half cubits in width (a cubit is about 18 inches). It was constructed of acacia wood, and was plated with pure gold, inside and out. On the bottom of the box, four gold rings were attached, through which two poles, also made of acacia and coated in gold, were put. The family of Kehath, of the tribe of Levi, would carry the ark on their shoulders using these poles. AR 227 History of Art Ancient Near East, Israel, Ark of the Covenant AR 227 History of Art Ancient Near East, Israel, Golden Calf AR 227 History of Art Ancient Near East, Israel, Golden Calf Israel, Molten Calf, Graving And he received them at their hand, and fashioned it with a graving tool, after he had made it a molten calf; Exodus 32:4 AR 227 History of Art Coming up Monday, September 18, Quiz Ancient Near East, Janson Chapter 2, Egypt, Janson Chapter 3 Wednesday, September 20, Egypt, Janson Chapter 3 Friday, September 22, Egypt, Janson Chapter 3 AR 227 History of Art Ancient Near East, Egypt, AR 227 History of Art Ancient Near East, Egyptian Culture 1. Culture dominated by concern for the afterlife. 2. Polytheistic 3. Culture based on “Standards and Tradition” AR 227 History of Art Ancient Near East, Egypt, Nome-gods Nome gods (mascot), who were in charge of particular places, were shown smaller than the king. AR 227 History of Art Ancient Near East, Egyptian Grid, Canon of Human Proportions(frontal) Canon of Human Proportions(frontal) The Canon of Human proportions was a square-grid of 18 units applied to a drawn human gure (standing) allowing its reproduction in various sizes, but always anatomically proportionate. Used the dimension of the st. fi fi AR 227 History of Art Ancient Near East, Egyptian Grid, Canon of Human Proportions(frontal) Canon of Human Proportions 2 squares allowed for the face (from the hairline to the base of the neck), 10 squares from the neck to the knees, and 6 squares from the knees to the sole of the feet. There was a nineteenth square for the hair, but not counted with the rest of the body. AR 227 History of Art Ancient Near East, Egyptian Grid, The Cubit and the Egyptian Canon The Cubit and the Egyptian Canon John A.R. Legon The 'canonical height' of the gure found to have been three royal cubits. (19 squares pro le including hair) fi fi AR 227 History of Art Ancient Near East, Hesy-Ra, Wooden Panel, sitting gure The Wooden Panel of Hesy-Ra: Government Of cial, Physician, and Scribe A sitting gure was divided into a 14 square-grid (15 including the hair). fi fi fi AR 227 History of Art Ancient Near East, Hesy-Ra, Wooden Panel, sitting gure The usual 6 units were used between the sole of the feet and the knees, two extra squares were added to the distance between the knee and the neck, creating shorter lower legs and a longer neck. fi AR 227 History of Art Ancient Near East, Seated gure PRINCE WEB-EM-NEFRET The prince sits on a bull- legged wooden stool with an elaborate papyrus umbel terminal and a long cushion. He wears a shoulder-length wig, a short beard, two bracelets, and a long leopard-skin garment with a shoulder knot. His right arm toward a table of half loaves of bread. fi AR 227 History of Art Ancient Near East, Seated gure The king’s daughter, Nefertiabet” the princess and her food, seated gure fi fi AR 227 History of Art Ancient Near East, Seated gure fi AR 227 History of Art Egypt, Palette of Narmer Palette of King Narmer, from Hierakonpolis, Egypt, Predynastic, c. 3000–2920 B.C.E., slate, 2′ 1″ high (Egyptian Museum, Cairo) AR 227 History of Art Egypt, Palette of Narmer, front AR 227 History of Art Egypt, Palette of Narmer, back AR 227 History of Art Egypt, Palette of Narmer, Brachiosaurus Bronze skeleton of a Brachiosaurus outside the Field Museum of Natural History, Chicago AR 227 History of Art Egypt, Palette of Narmer, Brachiosaurus The long neck and long tail are characteristic of many of the reptilian fossils. AR 227 History of Art Coming up Wednesday, September 20, Egypt, Janson Chapter 3 Friday, September 22, Egypt, Janson Chapter 3 Monday, September 25, Egypt, Janson Chapter 3 Wednesday, September 27, Test 1, Intro-Egypt, Janson Chapter 3 AR 227 History of Art Egypt, Menkaure and Queen Kamerernebty, Traditional-Standardized Traditional-Standardized-Idealized presentation Height: 4 feet (Museum of Fine Arts, Boston) AR 227 History of Art Egypt, Menkaure and Queen Kamerernebty, Traditional-Standardized King (Menkaure) Mycerinus and his queen Khamerernebty Built the smallest pyramid at Giza. Schist statue is about 55” tall. AR 227 History of Art Egypt, Menkaure, Hathor, and Cynopolite Nome, Traditional-Standardized Menkaure, Hathor, and Cynopolite Nome Green schist 3 feet high (Egyptian Museum, Cairo) One of four complete schist triad sculptures of Menkaure (Mycerinus). AR 227 History of Art Egypt, Menkaure, Valley Temple Location where statures were found of King (Menkaure) Mycerinus and his queen Khamerernebty AR 227 History of Art Egypt, Menkaure, Valley Temple Two of four complete schist triad sculptures of Menkaure (Mycerinus). AR 227 History of Art Egypt, Menkaure, Valley Temple Menkaure's pyramid at Giza is considerably smaller than those of his father Khafre and his grandfather Khufu. AR 227 History of Art Egypt, King Menkaure, the goddess Hathor and the dei ed Hare nome King Menkaure's left leg forward signi es he is most important. fi fi AR 227 History of Art Egypt, Seated King Chefren(Khafre) Menkaure's father, Khafre, built the second Great Pyramid at Giza. Traditional-Standardized -Idealized presentation AR 227 History of Art Egypt, Seated King Chefren, uni cation image of “Sema Tawy” Horus's pose behind head of king illustrates (Chef ren)Khafre’s close relationship with his fellow god. fi AR 227 History of Art Egypt, Seated King Chefren, uni cation image of “Sema Tawy” King Chefren 3 /4 view showing Sema Tawy and Horus. fi AR 227 History of Art Egypt, “Sema Tawy”, SEMA means: to unify, and TAWY means: the Lands River gods tying knot a sign unification of Sema Tawy on King upper and lower Chefren throne Papyrus Lower Egypt Lotus Upper Egypt Eygpt AR 227 History of Art Egypt, Rahotep and Nofret Seated statues, Egyptian Museum, Cairo, painted limestone. Rahotep: Excavated by Mariette in 1871. Rahotep died when he was young, and so his half- brother Khufu became pharaoh. Example of “Traditional Natural Style” AR 227 History of Art Egypt, Rahotep and Nofret Nofret detail- Example of “Traditional Natural Style” AR 227 History of Art Egypt, Seated Scribe The statue is 21in tall, a height close to the Egyptian unit of measure known as a cubit. Example of “Traditional Natural Style” AR 227 History of Art Egypt, Year and pharaoh of the Exodus 1 Kings 6:1 In the four hundred eightieth year after the Israelites came out of the land of Egypt, in the fourth year of Solomon's reign over Israel, in the month of Ziv, which is the second month, he began to build the house of the LORD. AR 227 History of Art Egypt, Year and pharaoh of the Exodus Exodus Early Date 1446BC Exodus Late Date 1290BC Amenhotep II, Pharaoh of Exodus. Akhenaton (1409- 1369 BC). Joshua (1466- 1356 BC). Moses (1527- 1407 BC) AR 227 History of Art Egypt, Year and pharaoh of the Exodus Scholars have been fascinated by a revolutionary religious doctrine which developed shortly after 1445 B.C. that threatened to sweep away the theological dogmas of centuries. These scholars have credited Amenhotep IV, great grandson of Amenhotep II, with founding the religious concept of Monotheism (the idea that there is only one God). Can be reasonably sure that Amenhotep II was the pharaoh of the Exodus. AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti Pharaoh Amenhotep IV (later called Akhenaten) and his queen, Nefertiti, exemplify the unique developments that took place in Egyptian art of the Amarna Period. “New Stylized presentation” AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti Up to this point, Egyptian representations of the human body had, over the course of a millennium, changed very little. The ideal form of the king or pharaoh was an angular one that emphasized physical strength, as well as youth. AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti The new style of art drained the body of its robust muscularity. The pharaoh’s body (and those who followed his model) was now soft and round, with sloped shoulders, a protruding belly, an ample breast, and heavy thighs. AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti The bodies of Amenhotep and Nefertiti shown here are much closer to one another in form than are those of men and women from other periods. poses of the individuals depicted. AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti The Amarna Period also introduced new levels of intimacy and informality to artwork. AR 227 History of Art Egypt, Amenhotep IV and Queen Nefertiti Shows familial affection, such as the joined hands of king and queen seen here, appeared in Egyptian art for the rst time. Other works of the period are notable for the relaxed poses of the individuals depicted. fi AR 227 History of Art Egypt, Bust of Queen Nefertiti Bust of Nefertiti limestone with plaster on surface AR 227 History of Art Egypt, Bust of Queen Nefertiti Created by Thutmose, Discovered 1912: Amarna, Egypt Neues Museum, Berlin, Germany AR 227 History of Art Egypt, Bust of Queen Nefertiti Nefertiti, whose name means "the beautiful one has come". AR 227 History of Art Egypt, Bust of Queen Nefertiti Wonderful example of Symmetry. AR 227 History of Art Egypt, Bust of Queen Nefertiti The bust of Nefertiti an iconic symbol of Egypt. AR 227 History of Art Egypt, Bust of Queen Nefertiti “Nefertiti’s head came out of [Egypt] illegally, and I call for its return to be seen by Egyptians at the inauguration of the Great Egyptian Museum,”. AR 227 History of Art Egypt, Bust of Queen Nefertiti Nefertiti’s story dates back to 1912, when a German archeological mission headed by Egyptologist Ludwig Borchardt visited Cairo and signed a contract with the Egyptian government, giving it the right to acquire some of the artifacts found in the area of Tell el- Amarna, which was built by Akhenaten, and became the capital instead of Thebes. AR 227 History of Art Egypt, Bust of Queen Nefertiti Among the artifacts transferred by the mission outside Egypt was Nefertiti’s head. AR 227 History of Art Egypt, Amenhotep IV Amenhotep IV (Pharaoh Akhenaten, circa1360- 1342)- ”New Stylized Presentation a break from the Idealized Traditional Presentation AR 227 History of Art Egypt, Amenhotep IV Amenhotep IV (Pharaoh Akhenaten) AR 227 History of Art Coming up Friday, September 22, Egypt, Janson Chapter 3 Monday, September 25, Egypt, Janson Chapter 3 Wednesday, September 27, Test 1, Intro-Egypt, Janson Chapter 3 AR 227 History of Art Egypt, House Altar, Sunken Relief House Altar, Depicting Akhenaten, Nefertiti and Three Daughters, Stylized presentation AR 227 History of Art Egypt, House Altar, Sunken Relief AR 227 History of Art Egypt, Sunken Relief Egypt, Tell el-Amarna, sunken-relief depicting Amenhotep IV (Pharaoh Akhenaten, circa1360- 1342) while worshiping the solar disc aten, eighteenth dynasty, New Kingdom, limestone AR 227 History of Art Egypt, Akhenaten, Sunken Relief Egypt, Tell el-Amarna, Sunken relief depicting Amenhotep IV (Pharaoh Akhenaten, circa1360- 1342) while worshiping the solar disc aten, eighteenth dynasty, New Kingdom, limestone AR 227 History of Art Egypt, Location of Tomb of Tutankhamen Location of the Tomb of Tutankhamen AR 227 History of Art Egypt, Location of Tomb of Tutankhamen Howard Carter and Lord Carnarvon AR 227 History of Art Egypt, Carnarvons' Highclere Castle AR 227 History of Art Egypt, Carnarvons' Highclere Castle AR 227 History of Art Egypt, Location of Tomb of Tutankhamen, Cave entrance AR 227 History of Art Egypt, Location of Tomb of Tutankhamen, Cave entrance AR 227 History of Art Egypt, Location of Tomb of Tutankhamen, Cave entrance AR 227 History of Art Egypt, Location of Tomb of Tutankhamen, Cave entrance Tut tomb Starway before excavation AR 227 History of Art Egypt, Location of Tomb of Tutankhamen, Cave entrance Tut tomb Starway after excavation AR 227 History of Art Egypt, Tomb of Tutankhamen AR 227 History of Art Egypt, Tomb of Tutankhamen, Cave entrance AR 227 History of Art Egypt, Tomb of Tutankhamen, Cave entrance Lord Canarvon and Howard Carter at tomb entrance AR 227 History of Art Egypt, Tomb of Tutankhamen, Cave entrance Lord Canarvon and Howard Carter opening up the Tomb of King Tut AR 227 History of Art Egypt, Tomb of Tutankhamen, Antechamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Antechamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Antechamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Antechamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Antechamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Burial Chamber Sealed doors of the burial chamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Burial Chamber Carter opening the doors of the Burial Chamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Burial Chamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Burial Chamber The sarcophagus (flesh-eating) AR 227 History of Art Egypt, Tomb of Tutankhamen, Three Cof ns fi AR 227 History of Art Egypt, Tomb of Tutankhamen, Outer Cof n fi AR 227 History of Art Egypt, Tomb of Tutankhamen, lifting the Cof ns out of scarco gus fi fi AR 227 History of Art Egypt, Tomb of Tutankhamen, Howard Carter examining 2nd cof n fi AR 227 History of Art Egypt, Tomb of Tutankhamen, 2nd Outer Cof n fi AR 227 History of Art Egypt, Tomb of Tutankhamen, Inner most Coffn solid gold The inner most cof n was solid gold fi AR 227 History of Art Egypt, Tomb of Tutankhamen, Inner Coffn AR 227 History of Art Egypt, Tomb of Tutankhamen, Gold Mask inside inner cof n fi AR 227 History of Art Egypt, Tutankhamen Mask- Solid Gold Vulture-Upper Egypt Cobra-Lower Egypt AR 227 History of Art Egypt, Tutankhamen Mask- Solid Gold Wonderful example of symmetry AR 227 History of Art Egypt, Tutankhamen Mask- Solid Gold, side view AR 227 History of Art Egypt, Tutankhamen Mask- Solid Gold, back view AR 227 History of Art Egypt, Tutankhamen digital portrait Digital artist concept of what he might have looked like AR 227 History of Art Egypt, Mummi cation Process fi AR 227 History of Art Egypt, Mummi cation Process fi The Tut Tomb Treasury with Inpu, or Anubis, was an Egyptian god, the son of Ra. He was the god of the dead and the underworld in Old Kingdom Egypt. Because jackals (a kind of wild dog) went to cemeteries, attracted by the smell of dead people's bodies, Anubis is AR 227 History of Art Egypt, Tomb of Tutankhamen, Treasury Chamber AR 227 History of Art Egypt, Tomb of Tutankhamen, Carter Removing the Treasures AR 227 History of Art Egypt, Tomb of Tutankhamen, Lord Carnarvon dies The death of Lord Carnarvon, who died at Cairo as the result of blood poisoning after an illness which occurred several weeks after the opening of King Tutan- khamen's tomb, in the Valley of Kings, Luxor, Egypt, has intensi ed the contro- versy which has been debated in England, France, and America since his illness com- menced, whether or not it was due to the malign in uence of the dead Pharaoh. Sir Arthur Conan Doyle has telegraphed as follows to England from New York:- "Powerful elementals or spirits placed on guard by ancient Egyptian priests to pro- tect the tomb of King Tutankhamen may have caused the death of Lord Carnarvon. fl fi AR 227 History of Art Egypt, Burial stages, Pit Mound AR 227 History of Art Egypt, Burial stages AR 227 History of Art Egypt, Burial stages, Mastabeh AR 227 History of Art Egypt, Burial stages, Mastabeh An ancient Egyptian mud-brick tomb with a rectangular base and sloping sides and at roof; "the Egyptian pyramids developed from the mastaba" fl AR 227 History of Art Egypt, Burial stages, Sarcophagus- esh eating in Greek fl AR 227 History of Art Egypt, Burial stages, Imhotep Designed and built the first pyramid in human history, the Step Pyramid at Saqqara, the first manifestation of higher knowledge in ancient Egypt. He belonged to a closed organization of priests called the School of Mysteries of "The Eye of Horus", exclusive guardians of knowledge in ancient Egypt. AR 227 History of Art Egypt, Burial stages, Imhotep Step Pyramid of He was revered in Egypt for three thousand years - that is, from his own King Djoser lifetime during the reign of King Djoser right up to the Greek and Roman conquests of Egypt. His father was the royal architect Kanofer, his mother Khreduonkh, an hereditary noble. At a very early age Imhotep entered the priesthood and began to live at the Temple of Annu on the shores of the Nile - a center of science and religion, with a great library, were Imhotep learned how to read and write in the symbolic language of hieroglyphs. AR 227 History of Art Egypt, Burial stages, Step Pyramid of King Djoser AR 227 History of Art Egypt, Burial stages, Hieroglyphics French scholar Jean-François Champollion (1790-1832) He was, after all, credited with deciphering hieroglyphics from the Rosetta Stone and thus giving scholars the key to understanding hieroglyphics. AR 227 History of Art Egypt, Burial stages, Famine Stele AR 227 History of Art Egypt, Burial stages, Famine Stele From the city of Aswan on the river Nile, an ancient rock can be seen. It is known as the Famine Stele, and its text appears in hieroglyphs occupying 32 columns, that must be read from right to left. AR 227 History of Art Egypt, Burial stages, Famine Stele The rst columns deal with the famine that occurred in the reign of the Pharaoh Djoser, around 3000 years B.C, in a period earlier than the reign of Kheops(largest pyramid). fi AR 227 History of Art Egypt, Burial stages, Famine Stele The engraved hieroglyphs tell the following story: For years the Nile had periodically ooded its banks, watering the surrounding elds and making them apt for agriculture. fl fi AR 227 History of Art Egypt, Burial stages, Famine Stele In the reign of Djoser, however, the river did not rise. Hence crops were unable to grow, the soil dried up and became sterile, and the result was a great famine throughout the land. AR 227 History of Art Egypt, Burial stages, Famine Stele The stele text was originally deciphered in 1889, but due to the limitations of scienti c knowledge of the time, that part containing the formula was misunderstood or not properly translated. Now professor Davidovits, thanks to his chemical knowledge, has been able to decode its true meaning. fi AR 227 History of Art Coming up Monday, September 25, Egypt, Janson Chapter 3 Wednesday, September 27, Test 1, Intro-Egypt, Janson Chapter 3 Friday, September 29, Aegean/Greece, Janson Chapter 4 AR 227 History of Art Egypt, Burial stages, Famine Stele Professor Davidovits was particularly interested, however, less in the historical passages on the ood than in those that describe a chemical formula used in ancient times by a priest and sage - the great Imhotep - to fabricate an agglomerated block of stone. fl AR 227 History of Art Egypt, Burial stages, Famine Stele, ARI-KAT hieroglyph The ARI-KAT hieroglyph, a key to the stone technology found on the Famine Stele A section (known as "The Revelations of Imhotep") contains signi cant words. ARI, is a verb meaning "to work with, to fashion, or to form". Symbolized by an eye, alongside a seated human gure, which represents the man who does the work. fi fi AR 227 History of Art Egypt, Burial stages, Famine Stele, ARI-KAT hieroglyph The ARI-KAT hieroglyph, a key to the stone technology found on the Famine Stele The addition of KAT - two hands held aloft and a semicircle - gives a new meaning: man-made, created by man. ARI-KAT, therefore, is something fashioned by man and, when associated with minerals, something processed or synthetically made. AR 227 History of Art Egypt, Burial stages, The Irtysen Stele The Irtysen Stele Proof The Louvre gallery in Paris is where the Irtysen Stele is preserved. AR 227 History of Art Egypt, Burial stages, The Irtysen Stele The Irtysen Stele Proof

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