art history - exam 2

• Portrait of Augustus as general, from Primaporta, Italy, early-first-century ce copy of a bronze original of ca. 20 bce. Marble, 6′8″ high. Musei Vaticani, Rome
• This statue depicts Augustus as a triumphant general and emphasizes the emperor's divine descent. This piece does not portray episodes of the emperor's childhood. It was originally painted and was likely created after the emperor's death.

• Ara Pacis Augustae (Altar of the Augustan Peace), Rome, Italy, 13–9 bce
•  This monument references to Rome's peace and abundance under imperial rule and has processional images imitating those of the Athenian Parthenon. 

Female personification (Tellus?), panel on the east facade of the Ara Pacis Augustae, Rome, Italy, 13–9 bce. Marble, 5′3″ high

Procession of the imperial family, detail of the south frieze of the Ara Pacis Augustae, Rome, Italy, 13–9 bce. Marble, 5′3″ high

• Severus and Celer, Domus Aurea of Nero, Rome, Italy, 64–68 ce
•  This is a building made out of Roman concrete and was a palace originally decorated with gold, precious stones, and mother-of-pearl. It features an oculus and does not have a dome on top of cylindrical drum or roman arches. 

• Room 78, Domus Aurea, 64–68 ce
• This image is an interior view of Nero's Domus Aurea and highlights a technique by which pigments and plaster unite chemically and the painting becomes a permanent part of the wall. This is not the same type of fresco decoration found in the Villa of Livia in Primaporta.

• Colosseum (Flavian Amphitheate), Rome, Italy, ca. 70–80 ce.
• This is an ampitheater for gladiatorial combats and animal hunts. It featured three Greek orders of architecture and roman arches but did not have a dome.

• Arch of Titus, Rome, Italy, after 81 ce
• This is a triumphal arch dedicated to Titus. This monument features a Roman arch and barrel vault, commemorative reliefs of Roman military campaigns, and a scene of the emperor's apotheosis or deification

• Spoils of Jerusalem, relief panel in the passageway of the Arch of Titus, Rome, Italy, after 81 ce. Marble, 7′10″ high
• This piece likely depicts a Roman triumphal procession in which the emperor and his troops paraded with captives and spoils of war. This piece does not commemorate Roman victories in the Dacian wars.

Triumph of Titus, relief panel in the passageway of the Arch of Titus, Rome, Italy, after 81 ce. Marble, 7′10″ high

Apotheosis of Titus, after 81 ce

• Column of Trajan, Forum of Trajan, Rome, Italy, dedicated 112 ce
• It represents a battle scene, beheaded Dacians, wounded Romans, and a fort construction. Its purpose was to commemorate Trajan's victorious military campaigns in Dacia. The piece shows a personification of the Danube river and soldiers building forts during the Dacian wars. The primary function of this monument was to serve as imperial propaganda and commemorate Roman military victories. 

• Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 ce. Bronze, 11' 6" high. Palazzo dei Conservatori, Musei Capitolini, Rome
• This monument is known as an imperial equestrian statue and this is the only over-life-size, gilded bronze imperial portrait that remains intact. Marcus Aurelius was a Roman empire highly interested in Greek philosophy.

• Pantheon, Rome, Italy, 118–125 ce
• This building features a coffered dome with an oculus, Corinthian columns, and a design based on the intersection of two circles. This building was built using concrete covered with marble, was dedicated to all the gods, but was not commissioned by Marcus Aurelius.

Cave 1, Ajanta, India, second half of fifth century - entrance

• Cave 1, Ajanta, India, second half of fifth century - plan
• This space features small cells for housing Buddhist monks and does not have a stupa and ambulatory or a linga shrine. 

• Cave 1, Ajanta, India, second half of fifth century
• View to the rear wall with the Buddha Shrine at the center and the Bodhisattva Padmapani (Avalokitesvara) to the left

Cave 1, Ajanta, India, second half of fifth century

Detail of Bodhisattva Padmapani (Avalokitesvara)

• This piece is located in Cave 1 in Ajanta and in a vihara. This figure is a follower of Buddha about to reach nirvana. 
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Cave 1, Ajanta, India, second half of fifth century

Ceiling decoration (elephant detail). This is painted with a technique known as dry fresco. This is not a Hindu deity, Buddhist deity, Buddha's pet, or one of Shiva's manifestations.  

• Cave 26, Ajanta, India, second half of fifth century 
• Stupa, Interior. This is an image of a Chaitya in Ajanta, which features a stupa and an image of Buddha (does not feature a bodhisattva). The design of this space facilitates pradakshina, or ritual circumambulation and places emphasis on the container of Buddha's relic. This place does not accommodate lodging for monks. 

• Cave 26, Ajanta, India, second half of fifth century - Stupda
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Cave 26, Ajanta, India, second half of fifth century

Sculpted decoration in the ambulatory:

Reclining Buddha (Buddha in parinirvana)

 

• Cave of Shiva, Elephanta, India, ca. 6th century
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• Cave of Shiva, Elephanta, India, ca. 6th century - Exterior of the Linga shrine
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Cave of Shiva, Elephanta, India, ca. 6th century - Sadashiva (eternal Shiva)

 These three faces represent the serene form of the deity at center, a wrathful form to the left, and a female form to the right 

• Cave of Shiva, Elephanta, India, ca. 6th century
• Ardhanarishvara: half female (Parvati)
• and half male (Shiva)
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• Cave of Shiva, Elephanta, India, ca. 6th century
• Gangadhara (Shiva bringing Ganges
• River to earth)
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• Cave of Shiva, Elephanta, India, ca. 6th century - Interior
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These buildings are rock cut temples located in South Asia and created during 250-650 CE.

General view of Teotihuacán with main structures ca. 50–250 ce, Mexico (Mesoamerica)

There is a view of the Pyramid of the Moon and the Avenue of the Dead. This settlement was built in 150–650 CE and was characterized by the inclusion of multi-family residential apartment buildings, a clear urban plan, and a diverse population coming from different regions of Mesoamerica. It had a large size with about 225,000 inhabitants by 400 ce

Pyramid of the Moon, ca. first century ce, Teotihuacan, Mexico

The pyramid of the moon is directly in line with the central street in the city and echoes the shape of the most sacred mountain in the Teotihuacan Valley. This building has a tablero-talud configuration and the use of an adosada (or attached) platform.

Pyramid of the Sun, ca. first century ce, Teotihuacan, Mexico

This building is placed to the east of the central street in the city and is the second largest pyramid in Mesoamerica.

Temple of the Feathered Serpent, the Ciudadela, Teotihuacán, Mexico, third century ce

Great goddess, wall painting in the Tetitla apartment complex at Teotihuacán, Mexico, 650–750 ce. Pigments over clay and plaster

Bloodletting mural, Teotihuacán, ca. 600–700 ce

This piece is an example of a Teotihuacan mural painting

• Nasca lines, Nasca Plain, Peru, ca. 500 ce. Dark layer of pebbles scraped aside to reveal lighter clay and calcite beneath

• Hummingbird
• Monkey
• Spider

Nasca vessel in the form of an achira root, 180 bce-500 ce

This is not an example of naturalism

Bridge-spouted vessel with flying figures, from the Nazca River valley, Peru, ca. 50–200 ce. Painted ceramic, 5 1/2″ high. Art Institute of Chicago, Chicago's Kate S. Buckingham Endowment

This piece shows Nasca artistic preference towards abstraction and is an example of Nasca polychrome ceramic.

Mouth mask (early Nasca style), first century bce, Nasca, Peru. Gold, 10 × 10 in. (25.4 × 25.4 cm). Textile Museum, George Washington University, Washington, D.C.

Nazca textile bag with abstract design, perhaps serpents, 7th century

This piece was not recovered from the royal tombs at Sipan (textiles hard to preserve)

Adobe mural depicting victorious warrior, Huaca de la Luna, Peru, ca. 500-800 ce

Portrait Head Bottle, 5th–6th century (Moche culture), Peru, ceramic, 32.39 cm high. The Metropolitan Museum of Art

This is a Moche stirrup-spouted vessel.

Fox Warrior Bottle, 7th-8th century ce, Moche. Peru, ceramic, 29.46 cm. The Metropolitan Museum of Art

It is a stirrup-spout bottle.

This piece is an illustration of a real ritual conducted by humans dressed in costumes. It was not recovered from the royal tombs in Sipan.

• Backflap from Sipán, Peru, 625–645 ce, gold
• This back flap hung from the belts of high ranking individuals, was found at the royal tombs of Sipan, and contains the depiction of a "decapitator"

Ear ornament, from Sipán, Peru, Moche, ca. 300 ce. Gold and turquoise, 445″ diameter. Bruning Archaeological Museum, Lambayeque

This piece was found at a tomb in Sipan, Peru. The central figure is a ruler and a priest.

Pair of Earflares, Winged Messengers, 3rd-7th century, Moche, Peru, gold, turquoise, sodalite, shell, 8 cm diameter. The Metropolitan Museum of Art

This piece represents Moche runners

San Vitale, Ravenna, Italy, 526–547:

• Theodora and attendants, mosaic on the south wall of the apse, San Vitale, Ravenna, Italy, ca. 546
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• Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Constantinople (today Istanbul), Turkey, 532–537:
• Virgin (Theotokos) and Child enthroned, apse mosaic, Hagia Sophia, Constantinople (Istanbul), Turkey, dedicated 867

San Vitale, Ravenna, Italy, 526–547:

• Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca. 546

Virgin (Theotokos) and Child between Saints Theodore and George, icon, sixth or early seventh century. Encaustic on wood, 2′3″×1′7 3/8″. Monastery of Saint Catherine, Mount Sinai, Egypt